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Karyn Kusama And Mr. Beaks Anatomize JENNIFER'S BODY!
On the surface, JENNIFER'S BODY appears to be little more than a snarky hybrid of HEATHERS and BUFFY THE VAMPIRE SLAYER - and if that's all you want out of it, I'm fairly certain you'll walk away satisfied. To a certain extent, this is screenwriter Diablo Cody's tribute to the teen-skewing horror-comedies of the 1980s. It's MY BEST FRIEND IS A SUCCUBUS starring the most lusted-after actress on the planet as the titular dude-consuming demon. Pretty straight sell, right?
Not exactly. At least, not the way director Karyn Kusama has attacked it. Though the film's intended audience might not initially see it, JENNIFER'S BODY is actually a rather fucked up body horror film about young female sexual dread. It's about the yearning for, and fear of, desirability - as well as a deliciously grotesque warning to teenage boys that they aren't even close to being in the driver's seat when it comes to matters carnal. In other words, it's a reminder of how horror can address difficult issues that might prove silly or off-putting in a straight drama. It's also a major step forward for Kusama, who has survived the tumult of AEON FLUX to deliver a full-fledged genre film that delivers the tawdry goods while reminding us of the smart, gritty promise of her debut feature, GIRLFIGHT.
A couple of weeks prior to the Toronto Film Festival (where JENNIFER'S BODY debuted as a "Midnight Madness" selection), I met up with Kusama for coffee to discuss... well, a whole host of topics. In the below interview, we talk about her love of horror, what she learned from working with John Sayles, how she copes with the inevitable compromise that comes with making a studio movie, why Michael Ritchie is one of the most underrated directors of the 1970s, and much, much more (including that scene where Megan Fox and Amanda Seyfried make out). I had a blast chatting with Kusama: she's incredibly candid about her experiences in Hollywood thus far and just flat-out knows her movies.
When I started recording, we were discussing the difficulty of previewing movies at Comic Con.
Mr. Beaks: When you're doing a presentation at Comic Con, you're reduced to showing money shots. You're reduced to showing the funniest scene or the scariest scene or the bloodiest scene that's not too far into the third act. You're just showing the most sensational elements of your movie without giving viewers a sense of the tone. I think you can wreck a movie that way.
Karyn Kusama: That's the challenge. For Comic Con, I knew that we had to show something that was long enough to give a real sense of the story, but also the tonal whiplash of the movie. I think if you don't express that, you don't express the movie. So we did our best. I hope that was the right fifteen minutes.
Beaks: That's tough, because what most appealed to me about the film was the tone. Under the surface, it's a really creepy, disturbing film. I mean, it's right there in the title, but this is a body horror film.
Kusama: It is. Thank you. It's what we were going for. Diablo and I talked about this right at the beginning: girls can be terrifying creatures. There's a lot about femininity and femaleness that is just intrinsically scary and potentially traumatic. The idea that Jennifer's seductive, sexual powers are a huge part of her arsenal was interesting. There is certainly a long tradition of horror movies that depend on using a girl's sexuality as way to suggest her vulnerabilities. Whereas with this movie, I think it's a little more complicated: the teeth are out. There were a lot of layers to the ideas in the script that functioned on that level for me. It just felt different. It felt like a really cool reversal.
Beaks: There have been several classic, female-centric body horror films: ROSEMARY'S BABY, THE EXORCIST, CARRIE, and, more recently, Marina de Van's IN MY SKIN. Did you look to those for inspiration?
Kusama: You know, we didn't really need to because those are movie's we're very versed in. For me, I just wanted for people to feel the fun of those movies, so I would occasionally have a movie night at my apartment. One night, it was CARRIE; one night it was HALLOWEEN; one night it was A NIGHTMARE ON ELM STREET; one night it was SHAUN OF THE DEAD; one night it was EVIL DEAD 2. I was just trying to get everyone together and watch those movies again - and also remind ourselves how much we laugh while watching those movies. That's a component to the story and the horror. In looking at CARRIE again, I forgot how much of a twisted sense of humor De Palma was wielding with the audience, and how that makes you feel uncomfortable for a while about what his relationship, as the filmmaker, is to Carrie. So by the time she's horrific, she's also heroic - and it feels like she's also spat back into the face of the filmmaker. So I feel it was worth it to go back and see how humor can be a destabilizing mechanism even as it's making you feel a little bit lulled and comfortable with what you're watching.
Beaks: That's one of the many things I love about CARRIE, and De Palma movies in general: you don't really trust the filmmaker. And that's what I liked about JENNIFER'S BODY: though I'd read the script before watching the movie, I felt a certain amount of distress as to where you were taking the material. And, honestly, I think this was me responding as a male to something that is foreign to me. The anxiety that accompanies a young woman's sexual awakening is something we're not exactly privy to. So, in a way, this movie could be scarier for guys than it is for girls.
Kusama: That's so interesting. I hope so. I love that idea. I feel like what gets lost in the semi-political conversations that people have about horror movies and gender is that some of the greatest horror movies, whether they're an old school, traditional approach to a ghost story or a nameless, faceless slasher movie... I think we forget how many of those movies have female leads. They are anchored by women. And I think there is something to the idea that boys and girls alike are going to those movies not just to feel scared, but to feel a female experience. I think we forget the power of that. We assume on the surface that we're watching a girl, and it therefore makes us feel more vulnerable because we feel that she's vulnerable and exposed. But it also gives us access to the ability to feel those things, which I really like.
Beaks: I like how explicit [JENNIFER'S BODY] is about this.
Kusama: Yes, this is really explicit. The text is sort of the subtext in this movie. (Laughs)
Beaks: But the idea of Needy being the late bloomer and Jennifer being more sexually advanced, and Needy wanting that while also feeling the need to defend Jennifer's non-existent honor to Adam Brody and his bandmates... there's a sort of schizophrenic push-pull here.
Kusama: (Laughs) That scene in the bar is interesting to me because it's really the only glimpse we get of their relationship that is positive. We get to see that they have this joking rapport and a secret sisters kind of relationship. But we also get to see Jennifer encourage Needy, and we get to see Needy defend Jennifer, and you realize there is this warped sense of ownership they both feel over each other. It's a tricky scene because it's also populated with a lot of jokes and a lot of story. That's also the last time their relationship will ever be normal. We plunge into pretty dark territory after that.
Beaks: I want to get back, though, to Needy defending an idea that doesn't even exist. Is this something young women feel toward friends who have maybe experienced more than they have?
Kusama: I think in the case of this relationship, and certainly in some of the female relationships I've been in or have been witness to, there is a desire to protect the past and sort of enshrine it as something very special - perhaps as a way to protect oneself from the realization that you're moving on, and somehow you're not the same people anymore. I do think girls put each other up on a rapidly shifting set of pedestals and then tear each other down. I think men do that to girls, too, but I think girls do it in a way that is more subtle and cutting because it has more to do with social hierarchies. Maybe this is just my view of the American high school experience. I pray it's different in France, but I doubt it. (Laughs) I just think there's always going to be Queen Bees and Alpha Females and Shrinking Violets. That's another thing I really liked about this script: something about high school and the way we categorize ourselves and label each other was itself sort of horrifying. So it sort of fed into the conceits of the narrative somehow. She sort of targets the big jock, and she targets the goth kid, and she targets the nerd. If you ever felt like you were one of those people, there's something real about that to me.
Beaks: It's a predatory thing. And that actually gets back to why I think this might be scarier for guys - especially for the nerdy guy who's never really been preyed upon but has always fantasized about having that girl. This film is saying... well, obviously, "Be careful what you wish for"--
Kusama: (Laughing) Yes!
Beaks: But in a way the guys are also being punished. They're treating her as a prize. And while she's allowed herself to be objectified, they're still complicit in this objectification.
Kusama: In some ways. But I hope I depicted those characters with enough humanity that you understand while you're watching it that you actually should like all of those guys. They're not bad guys. They're not just cliched, date-raping football players. So in a way, I'm hoping it makes Jennifer's pathology a little more clear - which is that she's losing her humanity over the course of the movie. That's something we're seeing. I know we're talking about what is ultimately a wacky genre picture, but I tried to come at it with that sense of caring about all of the characters. I think if you're affectionate toward your characters, it's both scarier and more effective when something bad happens to them. It sticks with you a little longer. That's the hope, at least.
Beaks: That's what sets it apart from something like HEATHERS. That was very satiric and very arch, and I think [JENNIFER'S BODY] is, in a lot ways, not. And yes we're talking about a wacky genre picture, but horror has always been a wonderful way of addressing what's going on in society.
Kusama: It's so rich. It has so much to say and actually gets to say it. People keep asking me, "Why are you drawn to horror?" It's like, "Well, horror actually delivers." (Laughs) There is something viscerally true about the best horror films. Oftentimes, I think it reveals something ugly about our world that is just too devastating to face in any sort of real way. We need horror to assert that teenagers can basically be incredibly thoughtless and cruel, or sometimes a man's ambition will lead him to do something so horrible that you end up impregnated by Satan himself. (Laughs) There's truth to this. There's a truth that we hook into, and that carries us through the more outrageous aspects of the narrative. But it's that truth that's the horror. And I felt like with this movie, there was something about the cruelty between girls and the cruelty of a society that oftentimes encourages a girl to objectify herself. That's going to lead to something monstrous.
Beaks: It's funny that the two genres in which we can address these things are comedy and horror. You do it in drama, and hardly anyone's interested.
Kusama: I think so much about the things I want to do, and I love it when I can watch an adult movie that has the pleasure of watching adults behave like adults. But the risk you take in getting those movies made - if they ever get made - is how small your audience potentially is. I'm not saying that's a reason not to make those movies, but the good genre movies actually create the dialogue everyone's dying to have about real things. And those are discussions that can't be had if your movie never gets seen or financed. In a funny way, it's that thing of finding your meaning through the backdoor of the plot. Again, if a movie is smart but has a sort of identifiable... I don't want to say genre tag, but I feel like we are working in a time when people want to know, "Okay, what am I making here? Is it an action movie? Is it a horror movie? Is it a thriller? Is it a romantic comedy?" So when you find those movies that seem to exist within those frameworks, it's just thrilling.
Beaks: Someone who did that so well early in his career, and who mentored you as well, is John Sayles.
Kusama: Sure.
Beaks: Did your experience working with John help prepare you for working in genre?
Kusama: Absolutely. I keep forgetting to mention THE HOWLING as an incredibly important movie to me directly in relation to [JENNIFER'S BODY]. It's very funny, it's very smart, and it's really nicely performed. For a story as outrageous as it is, there are really nice touches in the filmmaking. It's just a really smart, entertaining movie that had some commentary on the self-obsessed "Me Generation" Northern California '70s. I loved it at the time, and I love it still.
And John taught me so much about how to balance the urge for seriousness with the desire for pulpy entertainment. While he was making LONE STAR, he was writing a movie for Rob Reiner, APOLLO 13 for Ron Howard, and a movie James Cameron never made called BROTHER TERMITE. So here he was at the time working with the top A-list directors that choose to be in the Hollywood studio system... he was writing for them and making this strange western murder-mystery. I was able to witness him at a moment of all the stars aligning for him creatively. All systems were go. It's such an incredible gift to get to know someone working at that level.
At the same time, right after he finished LONE STAR, he started working with Guillermo del Toro on MIMIC. Of course, MIMIC became its own nightmare for Guillermo, but the process of [Sayles] working with someone like Guillermo, who was at the beginning of his career and had just made this interesting vampire movie... it's just interesting to see. There's a lot to learn from people who are devoted to quality genre. And those are the movies that really influenced me as a kid growing up. Movies like THE WIZARD OF OZ, KING KONG, FANTASIA... those movies hit me like a brick. They connected with me. I think that's for a reason. I wasn't watching THE 400 BLOWS when I was six; I was watching KING KONG. (Laughs) I love the art films as well. I need them and derive a lot of sustenance from them, but the urge to entertain is there for me.
Beaks: For many cinephiles, genre films are the building blocks that allow us to appreciate more nuanced or experimental types of movies as we get older. So I guess it makes sense that you go through that process again as a filmmaker.
Kusama: I think you have to walk through the world looking at movies without judgment. You have to know what you like and what you don't like, but understand when things are memorable or an achievement. For example, I may not love a lot of things about very flawed movies, but if there was one thing I loved, I have to acknowledge that something has been achieved; I have to stop and say, "Okay, what was that?"
Just today my husband and I were talking about ESCAPE FROM NEW YORK. When I was young, that movie was so important to me - specifically because it's supposed to be a post-apocalyptic New York City and they shot it in my hometown of St. Louis. They were like, "We don't even need to do anything! The set dressing is all here!" (Laughs) I was always so proud. "Home town for hire! Post-apocalyptic city!" But just the choice of an iconic black mesh shirt and an eyepatch: that's, in my opinion, as visually arresting and important as the story itself. That there is attention to detail in even the pulpiest of movies is what allows me to keep an open mind with everything I watch. Particularly now, coming from the filmmaker's side and having been through a studio experience twice, I can say that I can watch movies now with a differently trained eye. I can now see, "Ah, that was the moment where the studio said, 'We can't take it any longer, so you have to cut away!' - even though something really important is now on the cutting room floor." I'm now much more aware that the movies that end up in theaters are co-built by the money and the filmmaking teams. Not always, but oftentimes.
Beaks: Was this the case on JENNIFER'S BODY? Were there any major battles?
Kusama: There were lively discussions. Spirited conversations. But I think the meaning of the movie, and most of the uniqueness of the movie is intact. Luckily in this case, the movie was so strange that they decided to buy it. They knew Diablo was writing it; they knew she was going to be an executive producer. So they sort of signed on. And that really helped the process because they were always behind it in that way. I think some stuff makes them understandably more uncomfortable than other stuff, but it's okay. Having had a different experience with AEON FLUX, which was much more a sad story of mutilation, I can say now that I recognize that when a movie has a sort of craziness when you're watching it, that probably didn't happen by accident. I'm sure you see this all the time now, and are trained yourself to see when a movie has had its insides ripped out.
Beaks: Constantly. Just a couple of weeks ago, I was at The New Beverly watching THE 'BURBS, and--
Kusama: Joe Dante was screening that with SMILE, right?
Beaks: Yes.
Kusama: Had you seen SMILE before?
Beaks: I had, but it had been a while.
Kusama: It's one of my top ten favorite movies. It's so beautiful.
Beaks: It reminds me how great Michael Ritchie was in the 1970s. The final shot is perfection.
Kusama: He's an unsung hero to me. Between PRIME CUT, THE CANDIDATE, DOWNHILL RACER, SMILE, THE BAD NEWS BEARS... and FLETCH!
Beaks: And DIGGSTOWN.
Kusama: Which I've heard is kind of interesting. I must admit I've never seen it.
Beaks: It's so much fun. It's a boxing/con artist film. It's a little like Walter Hill's HARD TIMES.
Kusama: Or even STUDENT BODIES. He didn't take the credit for it, but that's a crazy movie. I love it. But anyway...
Beaks: (Laughs) But watching the ending of THE 'BURBS, I could sense the input of the studio. I know now there was a different ending shot, but it left me wondering wondering if there's a way to incorporate the studios' notes while still maintaining the thematic integrity of the film.
Kusama: And what was the answer in that case?
Beaks: I think Dante actually pulled it off. But that's a rare case. And maybe it was just one or two notes. But when you get buried in notes, and you finally say to yourself while you're making the movie, "I can't possibly make the film I came in here to make", how do you keep showing up to work every day?
Kusama: I think that's why a lot of directors have to walk away from the process of making your own movie. Suddenly, it's not their movie and they know it, and they can't claim it. I understand reaching that point. I used to watch movies with an intellectually open mind, but now I watch with an open heart because I accept that certain things feel like compromises in a film - and oftentimes that's because they probably are. (Laughs) Particularly when there are storylines that just drop off or don't connect, or tonal things that don't make any sense, or a scene that exists only because the actors are naked or there's an action sequence. I pay attention that that now, and look at it with a little more mercy.
Beaks: I do the same as well, especially since I moved to Los Angeles from New York. It's funny: I have my New York way of watching movies, and my L.A. way of watching movies.
Kusama: (Laughing) Me, too! That's really funny. I used to watch with a more critical mind.
Beaks: More deconstructive?
Kusama: Yeah.
Beaks: Like you actually wanted to get in the guts of a movie and pull it apart and figure out what the filmmaker's trying to say?
Kusama: Absolutely. And now you realize the meaning to be derived is sort of miraculous in and of itself - if you can derive any meaning. And some times those meanings are a bit confused.
Beaks: Do you still like movies as much as you did when you started?
Kusama: (Pause) I do. That's a very good question, though. I'm often asked by young, aspiring filmmakers, "What's your advice?" And my advice is always "You have to love the process." Making movies is very difficult, and the final product doesn't always live up to the time and effort and emotional sweat that flies off your body. So you just have to love getting to the finish line - and sometimes what's there at the finish line isn't what you wanted. I do find that I watch movies less now, mostly because I have less time. I have a child, and I find that that's seriously put a dent into my ability to watch movies the way I used to. (Laughs) I really look forward to the time when I can him to the movies and say, "Son, we're going to go see a movie called WALL-E today." Or "We're going to check out THE WIZARD OF OZ!" I'm really looking forward to the moments where I am able to share that experience. Because I know when I started watching movies as a little person, it was like being struck by lightning. It's still a vibrant, meaningful art form to me - and a form of entertainment. What an odd collision.
I often complain about there not being enough good movies out there, but LET THE RIGHT ONE IN was recently out. That's an incredible movie. THE HURT LOCKER was incredible. I'm going to see DISTRICT 9 tonight, and I have high hopes for that. There's great stuff out there. It's just, again, being merciful. (Laughs)
Beaks: Or reducing expectations.
Kusama: How about you? As someone who has to watch movies for a living, do you find yourself burned out by it ever?
Beaks: Oh, all the time. But then you stumble across some smart little indie movie or that odd studio film that somehow fell out of the system with something on it's mind, and your faith is somewhat restored. Actually, I'm usually more impressed when it's a studio movie with something subversive smuggled in. There aren't many directors who know how to do that anymore.
Kusama: Growing up, I watched a lot of Don Siegel and Sam Fuller. They were lifers. It was like they signed on for a chain gang, and they occasionally pulled gems out of a burlap sack.
(Brief interruption as our waitress checks in on us.)
Beaks: Getting back to JENNIFER'S BODY, one thing that really helped me connect to the film was your visual style. It's not glossy. I think some people might go into this movie expecting something with the sheen of a Joss Whedon show, but this has that... I hate to say "indie film look", but it certainly doesn't feel "studio".
Kusama: It's a taste thing for me, but I just think this is more aesthetically pleasing. People are always asking me, "What do you want to do?" or "What don't you want to do?" And I always say, "I want to do almost everything except romantic comedies." And, in talking with you, I realized the reason for this is that those films are always so boring looking. This script... it was pretty clear to me that there was an opportunity to do something moody and atmospheric and not bright and glossy, or sleek and slick. When I read a script, I immediately go to whatever instinctually comes up for me. And with [JENNIFER'S BODY], it was thinking of Needy in cardigans and being surrounded by macrame blankets. (Laughs) I saw the dualities between Needy and Jennifer: Jennifer could be living in this all pink world, and there could always be this fog hanging on the horizon and this sense of magic to their worlds. Even though they're meant to be unsophisticated girls in an unsophisticated town, I thought that this was an opportunity to do something a little more sophisticated with what we're looking at.
So many movies throw away the biggest opportunity they have, which is to tell their story visually. Where else do we get to point a camera and keep using it as a tool for almost two hours? It's an incredible challenge. I mean, I could stare at Mark Rothko paintings for hours on end, so I guess I feel that loving the basic fundamentals of color and texture and tactile material qualities of painting... I just hope I can translate that to film.
Beaks: I was glad that you did a split-diopter shot.
Kusama: We did a couple, yeah. That was my shout-out to De Palma. You know what's really amazing? For some people, it's like, "Ugh! You're doing your shout-out to De Palma," but for others it's like, "What was going on with that shot?" It's not a commonly used feature anymore.
Beaks: Which is a shame. I want to talk about your two leads. Obviously, Amanda Seyfried is a bit glamorous for the role of Needy. Some would say it's the old ugly-ing up the pretty girl syndrome.
Kusama: Which is just a reflection of the twisted world we live in. There was a resistance to casting that actor to be how she was written, which was mousy and a girl you just didn't notice. I mean, if Amanda Seyfried walked in right now, you'd just be like, "Wow!" She's crazy beautiful. But she's beautiful in a different way than Megan is beautiful, so if you wanted to, you could wrap your mind around the idea that Needy has decided that Jennifer's beauty trumps her own; she doesn't see her own reflection because, like the rest of the town, she's too busy looking at Jennifer. It's one of the insane facts of trying to make a movie in Hollywood that it's so important everyone be absurdly attractive. (Laughs)
Beaks: And there's an inescapable contradiction of Megan being an actress who, as an image, is objectified. I don't mean to criticize her too harshly, but she's complicit in this. Watching her at Comic Con during the JONAH HEX panel, she knew exactly what she was doing. No matter how crazy the questions got, she was in complete control of the situation. She invites this lust, but then when some guy gets up to tell her how hot she is, she makes him feel like complete shit about it.
Kusama: Yeah, it's cruel.
Beaks: It's deserved, I guess. But for all of that, she's still perceived as just a hot girl.
Kusama: When I came on to the movie, she was already cast. That was the one role that was locked in, so I just crossed my fingers. (Laughs) I remember we met her at The Cat & Fiddle. I downed a couple of pints of beer, and immediately could tell that she was thoughtful, smart, maybe a little shy, and maybe sort of uncomfortable by the thing that was just starting to happen to her. I immediately had a lot of sympathy for her - which I think is the thing about Jennifer, and her performance of Jennifer, that is really crucial. She can play the alpha female, but there is a moment where we have to see her as more of a girl. I remember when we talked about the moment where she approaches the guys in the band. I said, "I would love it if you could be... not so smooth." And she really understood that; she could really get that.
And with the sacrifice scene, I just told her, "Megan, it's really important that you be incredibly frightened for this girl at this moment despite what's going on with the dialogue." And she said, "Oh, it would be irresponsible of me to be anything but terrified and fighting for my life." And I was like, "Ah! You are my kind of girl!" She understands that there is a responsibility in committing to a role and being a role model. I'm sure there is a part of her that doesn't want to do that, but in playing this part, she understood that we can't have a throwaway scene or make a joke out of what has happened to this character. Even if the whole movie is populated with jokes, this isn't funny. And that's a real credit to her intelligence. I was probably really nervous before I met her about whether she could act. I hadn't seen TRANSFORMERS. I had no interest; it just isn't my kind of movie. But as raw as she is, she has a lot of thoughtfulness to the process. She was great. Really great.
Beaks: And then staging the scene.
Kusama: Yes.
Beaks: The kiss.
Kusama: (Laughs) Oh, I thought you were going to say the sacrifice! That's funny.
Beaks: (Laughing) That scene is very impressive, too, but this scene strikes me as very...
Kusama: (Still laughing) No, no. It is a centerpiece.
Beaks: Yes. It's shot in extreme close-up. And I assume that's them kissing in that shot.
Kusama: Oh, yeah. That's them. And I will say that it was a very difficult shot to get because it is such an extreme close-up. It is a real technical achievement! (Laughs)
Beaks: There's something very important happening in that scene thematically, but it is also very titillating and exploitative. In shooting it, how did you capture that heat without compromising the integrity of the scene?
Kusama: That's a good question. Whenever something thematically meaningful is in front of us, we always take a risk that we are exploiting it - because if it's meaningful, it stands to be exploited. We don't want to exploit things that are meaningless. It's not worth our time, I guess. That's why the porn industry is so successful; they exploit this physical act between two people. I knew that this was going to be titilating for some people in the audience perhaps, but I always felt like this scene had to function in two ways: it had to tell us something deeper about the relationship that we hadn't really understood at that point between Needy and Jennifer; we had to understand that there was a romantic, sexual component to that relationship that had a lot of currency for those characters. That was part of the glue that kept them together: this sort of safe, sexualized girlhood relationship. And that's a common thing, whether it's between girls and boys, girls and girls or boys and boys. It happens, and oftentimes just goes unspoken. So what I was hoping with this scene was a moment of, "Oh, this is another component to this totally toxic relationship I'm having."
But also I felt that it had to be erotic. I mean, if it wasn't sexy, what's the point? I'm so tired of watching women being forced to play sexy with other women, or play a romantic or sexualized relationship with another woman, and not commit to it. I'm so sick of watching little pecks on the cheek and little nuzzles here and there. I want the same stuff everyone else does. I want to see that there is some exposure and vulnerability. I want fucking tongue! (Laughs) I want to know that this is real! And in talking to the girls about it, I said, "Amanda, Megan, I know this is a big day. And I'm sorry that you might feel uncomfortable about this. But the point of this is that it is sexy. It is real. That's what makes it a little frightening and a little dangerous." And in the context of where this scene is showing up... people can tell me until they're blue in the face that I'm exploiting this moment, but a lot of my female friends watch that scene, and they say, "That's the scariest scene in the movie." Because they don't know what's going to happen. You don't know who's paying who, you don't know when the teeth are going to come out.
I feel like I did that scene my way, and I'm happy with it. And if guys come along for the ride and try to trivialize it as something made purely for them, that's the risk I take making movies. But I ultimately feel that that scene has a function in the storytelling and in the tonal weirdness of the movie. It is really sexy, but I also feel like it's anxiety-provoking. I don't watch that scene and get lost in a sort of porno glaze. (Laughs) As titillated as I feel, I'm also on the edge of my seat. But, look, in the process of making this movie, no one on the studio side has ever said to cut a frame from that uncomfortably long scene. (Laughs) Die-hard feminist that I am, I would've been comfortable with that close-up [of the kiss] being the teaser trailer for the movie. I think it's incredibly powerful. I don't think it's being made just for male pleasure; I think it's being made for people's pleasure. I just think it's beautiful to look at. (Laughs) Maybe I'm crazy.
Beaks: No, that's fair. SLUMBER PARTY MASSACRE is a feminist slasher movie, but they sold it with that great shot of the power drill between the legs.
Kusama: Exactly. I think also when you deal with horror, the politics are just necessarily a little more complicated; they inherently hold a lot more gray area. To me, it's a richer conversation that's being had between the audience and the filmmaker. I'm sure plenty of people will disagree with me and just not like the movie, but that's a different conversation.
Beaks: We're two years removed from JUNO, and Diablo's style has now been mimicked and relentlessly parodied. Are you at all worried that people are going to obsess on this with your film?
Kusama: I knew it was going to be an issue while we were making the movie and while we were cutting it. There are going to be people who hear her name and then decide to attach a very sort of specific label to the style they're perceiving in her writing. But I actually feel this film is quite a bit different from JUNO. It's thematically different, but also gaudier and stylistically out there. The brilliance of what Jason [Reitman] did with JUNO was to play it naturalistically and not really muddy the waters with too much editorial, fancy-pants filmmaking. (Laughs) And I think for me with JENNIFER'S BODY, I knew I had to approach it differently. I couldn't have these characters deliver these lines and experience demonic possession straight, so I had to come at it from my own point of view. There were moments in the editing process where we realized there were certain jokes that were too funny. They almost imbalanced a bigger trajectory that the film was on, so we had to cut jokes that worked the best sometimes. In that regard, I think we had to, in terms of Diablo's voice, make changes that maybe none of us were totally happy with. But I also think that's because her voice is specific and tricky. And I'm sure any filmmaker who is working with a script that has so much linguistic richness is going to have to assess their success or failure in communicating that richness - and maybe I didn't always succeed. So I had to pull back in certain places and give the audience some room.
I never really felt like her script was over-stylized. I just felt like it had a craziness that was distinctive and refreshing. I felt like the same person who could say "These things are like smart bombs. Point them in the right direction, and shit gets real", is the same person who can imagine your best friend appearing in your kitchen looking like she's been gang raped, and those two characters having a silent standoff. There's a power in that scene that I'd never really seen before. A weirdness. I feel that there is a weirdness in her dialogue and a weirdness in her storytelling abilities. She's just plain talented.
I'm very fascinated by the online internet chatter about Diablo. I'm so disappointed by the complete lack of substantial dialogue about her work.
Beaks: Substantial dialogue is tough to come by on the internet.
Kusama: I know, but it's just fascinating the number of times I've read someone call Diablo a "whore". And you wonder why she writes a script about an attractive woman who eats men for lunch. Makes perfect sense to me.
Beaks: This is true. Write about any attractive woman online, and your comments section will soon be filled with the most disgusting kind of objectification. And they'll make it as freakishly sexual as possible just to elicit a response. I'm quite sure these people are not...
Kusama: Happy people.
Beaks: Or dating much.
Kusama: Dating "much". (Laughs)
Beaks: I'll give them the benefit of the doubt. But when I read that stuff, I'm glad Diablo's out there doing what she's doing.
Kusama: I see it with Megan, too. It's as if people who put themselves out there are somehow deserving of this hate thrown at them. It's just odd to me. If you don't want to look, don't look. If you don't want to listen, don't listen. There's no need to create this new dictionary of hatred.
Beaks: I think it bothers a lot of these guys that they own their sexuality. They're not just going to sit there and look pretty.
Kusama: There's a discomfort people feel.
Beaks: And then they have to run them down to feel better.
Kusama: It's so weird.
Beaks: You're obviously hoping JENNIFER'S BODY is a hit, but--
Kusama: Are you kidding? I'm hoping it's a monster hit.
Beaks: But are you hoping it's a hit so you can go off and make something a little more personal, or do you want more freedom to do something bigger within this system?
Kusama: There are movies I want to make that if I could just rustle up $5 million, I would make a very truthful expression of where I'm coming from as an adult in this fucked-up world. And I really want to do that. I really want to make those movies. Honestly, it's as hard - if not harder - to find $5 million for an independent movie than to find $50 million at a studio. So I'm really struggling with it. Sometimes, the movies I want to make are bigger movies: they have more scale or just more necessity for resources. But oftentimes I think movies that have really hit me hard are just great ideas beautifully executed for as little money as possible. I'm happy to make those movies in that way, too. I have an appetite for all kinds of movies; it's just a question of whether this business has an appetite for me. (Laughs) I just have to figure out as I go what the next thing is going to be. I've only read a couple of studio things that I really like, and, ironically, they definitely tended toward horror. And that's just because I think that when a good writer gets their hands on a really cool idea and beautifully executes it on the page, I just see the possibilities. Horror activates that for me - and sci-fi to a degree. But another part of me would love love to make a movie where I could be prepping it in four weeks, shooting it in four weeks, cutting it in twelve, and having another movie under my belt that's a little smaller and a little weirder.
Beaks: When you're dealing with the studios, do you feel like they're bringing certain material to you because you're a woman?
Kusama: I'm not sure if it's because I'm a woman. One thing I'm struck by is that, from GIRLFIGHT to AEON FLUX to JENNIFER'S BODY, people were often saying, "We can't quite figure you out." That's not necessarily a good thing, that there's a sense of "Who are you?" or "What are you trying to do?". I'm like, "Well, these last three movies were attempts at doing something I wanted to do, and the next three or six or ten, I hope, will also be an expression of what I want to do." I'm not looking to tell the same story over and over again. Granted, when I think about a lot of filmmakers, they've made huge careers out of doing that, and some of those careers are more than admirable. It's not that I disagree with that game plan, it's just that I'm looking to challenge myself. For some people, trying out variations on a theme is the challenge; for me, it's re-starting the conversation each time. There's a lot that's been on my mind. I could go into horror again and go into dark territory again and be comfortable. But something I haven't done that could be interesting is something a bit more buoyant or a bit more joyful, something with a little more love of life - because I actually feel that! (Laughs) I've got to figure out what my next move is, but I'm open to figuring it out.
Beaks: It sucks that these things depend on how the last one does.
Kusama: I know, and I think about how some of my favorite filmmakers have had these moments where you don't know what they're going to do next, or you don't know how to completely label them. Whether it's a Peter Weir or a Roman Polanski or a Michael Ritchie or a Kathryn Bigelow, I never know what's going to come next. Sometimes it'll be a hit and sometimes it'll be a miss, but it's most likely going to be very different from the last one. Those kinds of careers really interest me. So maybe that's part of my instinct toward doing something completely different from JENNIFER'S BODY. But I also think a lot of times, when you're looking at scripts from the studio, it's the genre pictures that stand out. Because they occupy a place in our imagination already, so you can already have taken that leap to saying, "Okay, I can imagine people watching this movie." And having certain expectations of them of this movie - whether I foil them or deliver on them, that already creates a relationship with an audience, you know? It's interesting.
Earlier this week, we learned that Kusama is developing - what else? - a body horror movie with Rachel Weisz. Here's hoping she gets to really let it rip this time.
JENNIFER'S BODY is currently in theaters nationwide.
Faithfully submitted,
Mr. Beaks
And John taught me so much about how to balance the urge for seriousness with the desire for pulpy entertainment. While he was making LONE STAR, he was writing a movie for Rob Reiner, APOLLO 13 for Ron Howard, and a movie James Cameron never made called BROTHER TERMITE. So here he was at the time working with the top A-list directors that choose to be in the Hollywood studio system... he was writing for them and making this strange western murder-mystery. I was able to witness him at a moment of all the stars aligning for him creatively. All systems were go. It's such an incredible gift to get to know someone working at that level.
At the same time, right after he finished LONE STAR, he started working with Guillermo del Toro on MIMIC. Of course, MIMIC became its own nightmare for Guillermo, but the process of [Sayles] working with someone like Guillermo, who was at the beginning of his career and had just made this interesting vampire movie... it's just interesting to see. There's a lot to learn from people who are devoted to quality genre. And those are the movies that really influenced me as a kid growing up. Movies like THE WIZARD OF OZ, KING KONG, FANTASIA... those movies hit me like a brick. They connected with me. I think that's for a reason. I wasn't watching THE 400 BLOWS when I was six; I was watching KING KONG. (Laughs) I love the art films as well. I need them and derive a lot of sustenance from them, but the urge to entertain is there for me.
Beaks: For many cinephiles, genre films are the building blocks that allow us to appreciate more nuanced or experimental types of movies as we get older. So I guess it makes sense that you go through that process again as a filmmaker.
Kusama: I think you have to walk through the world looking at movies without judgment. You have to know what you like and what you don't like, but understand when things are memorable or an achievement. For example, I may not love a lot of things about very flawed movies, but if there was one thing I loved, I have to acknowledge that something has been achieved; I have to stop and say, "Okay, what was that?"
Just today my husband and I were talking about ESCAPE FROM NEW YORK. When I was young, that movie was so important to me - specifically because it's supposed to be a post-apocalyptic New York City and they shot it in my hometown of St. Louis. They were like, "We don't even need to do anything! The set dressing is all here!" (Laughs) I was always so proud. "Home town for hire! Post-apocalyptic city!" But just the choice of an iconic black mesh shirt and an eyepatch: that's, in my opinion, as visually arresting and important as the story itself. That there is attention to detail in even the pulpiest of movies is what allows me to keep an open mind with everything I watch. Particularly now, coming from the filmmaker's side and having been through a studio experience twice, I can say that I can watch movies now with a differently trained eye. I can now see, "Ah, that was the moment where the studio said, 'We can't take it any longer, so you have to cut away!' - even though something really important is now on the cutting room floor." I'm now much more aware that the movies that end up in theaters are co-built by the money and the filmmaking teams. Not always, but oftentimes.
Beaks: Was this the case on JENNIFER'S BODY? Were there any major battles?
Kusama: There were lively discussions. Spirited conversations. But I think the meaning of the movie, and most of the uniqueness of the movie is intact. Luckily in this case, the movie was so strange that they decided to buy it. They knew Diablo was writing it; they knew she was going to be an executive producer. So they sort of signed on. And that really helped the process because they were always behind it in that way. I think some stuff makes them understandably more uncomfortable than other stuff, but it's okay. Having had a different experience with AEON FLUX, which was much more a sad story of mutilation, I can say now that I recognize that when a movie has a sort of craziness when you're watching it, that probably didn't happen by accident. I'm sure you see this all the time now, and are trained yourself to see when a movie has had its insides ripped out.
Beaks: Constantly. Just a couple of weeks ago, I was at The New Beverly watching THE 'BURBS, and--
Kusama: Joe Dante was screening that with SMILE, right?
Beaks: Yes.
Kusama: Had you seen SMILE before?
Beaks: I had, but it had been a while.
Kusama: It's one of my top ten favorite movies. It's so beautiful.
Beaks: It reminds me how great Michael Ritchie was in the 1970s. The final shot is perfection.
Kusama: He's an unsung hero to me. Between PRIME CUT, THE CANDIDATE, DOWNHILL RACER, SMILE, THE BAD NEWS BEARS... and FLETCH!
Beaks: And DIGGSTOWN.
Kusama: Which I've heard is kind of interesting. I must admit I've never seen it.
Beaks: It's so much fun. It's a boxing/con artist film. It's a little like Walter Hill's HARD TIMES.
Kusama: Or even STUDENT BODIES. He didn't take the credit for it, but that's a crazy movie. I love it. But anyway...
Beaks: (Laughs) But watching the ending of THE 'BURBS, I could sense the input of the studio. I know now there was a different ending shot, but it left me wondering wondering if there's a way to incorporate the studios' notes while still maintaining the thematic integrity of the film.
Kusama: And what was the answer in that case?
Beaks: I think Dante actually pulled it off. But that's a rare case. And maybe it was just one or two notes. But when you get buried in notes, and you finally say to yourself while you're making the movie, "I can't possibly make the film I came in here to make", how do you keep showing up to work every day?
Kusama: I think that's why a lot of directors have to walk away from the process of making your own movie. Suddenly, it's not their movie and they know it, and they can't claim it. I understand reaching that point. I used to watch movies with an intellectually open mind, but now I watch with an open heart because I accept that certain things feel like compromises in a film - and oftentimes that's because they probably are. (Laughs) Particularly when there are storylines that just drop off or don't connect, or tonal things that don't make any sense, or a scene that exists only because the actors are naked or there's an action sequence. I pay attention that that now, and look at it with a little more mercy.
Beaks: I do the same as well, especially since I moved to Los Angeles from New York. It's funny: I have my New York way of watching movies, and my L.A. way of watching movies.
Kusama: (Laughing) Me, too! That's really funny. I used to watch with a more critical mind.
Beaks: More deconstructive?
Kusama: Yeah.
Beaks: Like you actually wanted to get in the guts of a movie and pull it apart and figure out what the filmmaker's trying to say?
Kusama: Absolutely. And now you realize the meaning to be derived is sort of miraculous in and of itself - if you can derive any meaning. And some times those meanings are a bit confused.
Beaks: Do you still like movies as much as you did when you started?
Kusama: (Pause) I do. That's a very good question, though. I'm often asked by young, aspiring filmmakers, "What's your advice?" And my advice is always "You have to love the process." Making movies is very difficult, and the final product doesn't always live up to the time and effort and emotional sweat that flies off your body. So you just have to love getting to the finish line - and sometimes what's there at the finish line isn't what you wanted. I do find that I watch movies less now, mostly because I have less time. I have a child, and I find that that's seriously put a dent into my ability to watch movies the way I used to. (Laughs) I really look forward to the time when I can him to the movies and say, "Son, we're going to go see a movie called WALL-E today." Or "We're going to check out THE WIZARD OF OZ!" I'm really looking forward to the moments where I am able to share that experience. Because I know when I started watching movies as a little person, it was like being struck by lightning. It's still a vibrant, meaningful art form to me - and a form of entertainment. What an odd collision.
I often complain about there not being enough good movies out there, but LET THE RIGHT ONE IN was recently out. That's an incredible movie. THE HURT LOCKER was incredible. I'm going to see DISTRICT 9 tonight, and I have high hopes for that. There's great stuff out there. It's just, again, being merciful. (Laughs)
Beaks: Or reducing expectations.
Kusama: How about you? As someone who has to watch movies for a living, do you find yourself burned out by it ever?
Beaks: Oh, all the time. But then you stumble across some smart little indie movie or that odd studio film that somehow fell out of the system with something on it's mind, and your faith is somewhat restored. Actually, I'm usually more impressed when it's a studio movie with something subversive smuggled in. There aren't many directors who know how to do that anymore.
Kusama: Growing up, I watched a lot of Don Siegel and Sam Fuller. They were lifers. It was like they signed on for a chain gang, and they occasionally pulled gems out of a burlap sack.
(Brief interruption as our waitress checks in on us.)
Beaks: Getting back to JENNIFER'S BODY, one thing that really helped me connect to the film was your visual style. It's not glossy. I think some people might go into this movie expecting something with the sheen of a Joss Whedon show, but this has that... I hate to say "indie film look", but it certainly doesn't feel "studio".
Kusama: It's a taste thing for me, but I just think this is more aesthetically pleasing. People are always asking me, "What do you want to do?" or "What don't you want to do?" And I always say, "I want to do almost everything except romantic comedies." And, in talking with you, I realized the reason for this is that those films are always so boring looking. This script... it was pretty clear to me that there was an opportunity to do something moody and atmospheric and not bright and glossy, or sleek and slick. When I read a script, I immediately go to whatever instinctually comes up for me. And with [JENNIFER'S BODY], it was thinking of Needy in cardigans and being surrounded by macrame blankets. (Laughs) I saw the dualities between Needy and Jennifer: Jennifer could be living in this all pink world, and there could always be this fog hanging on the horizon and this sense of magic to their worlds. Even though they're meant to be unsophisticated girls in an unsophisticated town, I thought that this was an opportunity to do something a little more sophisticated with what we're looking at.
So many movies throw away the biggest opportunity they have, which is to tell their story visually. Where else do we get to point a camera and keep using it as a tool for almost two hours? It's an incredible challenge. I mean, I could stare at Mark Rothko paintings for hours on end, so I guess I feel that loving the basic fundamentals of color and texture and tactile material qualities of painting... I just hope I can translate that to film.
Beaks: I was glad that you did a split-diopter shot.
Kusama: We did a couple, yeah. That was my shout-out to De Palma. You know what's really amazing? For some people, it's like, "Ugh! You're doing your shout-out to De Palma," but for others it's like, "What was going on with that shot?" It's not a commonly used feature anymore.
Beaks: Which is a shame. I want to talk about your two leads. Obviously, Amanda Seyfried is a bit glamorous for the role of Needy. Some would say it's the old ugly-ing up the pretty girl syndrome.
Kusama: Which is just a reflection of the twisted world we live in. There was a resistance to casting that actor to be how she was written, which was mousy and a girl you just didn't notice. I mean, if Amanda Seyfried walked in right now, you'd just be like, "Wow!" She's crazy beautiful. But she's beautiful in a different way than Megan is beautiful, so if you wanted to, you could wrap your mind around the idea that Needy has decided that Jennifer's beauty trumps her own; she doesn't see her own reflection because, like the rest of the town, she's too busy looking at Jennifer. It's one of the insane facts of trying to make a movie in Hollywood that it's so important everyone be absurdly attractive. (Laughs)
Beaks: And there's an inescapable contradiction of Megan being an actress who, as an image, is objectified. I don't mean to criticize her too harshly, but she's complicit in this. Watching her at Comic Con during the JONAH HEX panel, she knew exactly what she was doing. No matter how crazy the questions got, she was in complete control of the situation. She invites this lust, but then when some guy gets up to tell her how hot she is, she makes him feel like complete shit about it.
Kusama: Yeah, it's cruel.
Beaks: It's deserved, I guess. But for all of that, she's still perceived as just a hot girl.
Kusama: When I came on to the movie, she was already cast. That was the one role that was locked in, so I just crossed my fingers. (Laughs) I remember we met her at The Cat & Fiddle. I downed a couple of pints of beer, and immediately could tell that she was thoughtful, smart, maybe a little shy, and maybe sort of uncomfortable by the thing that was just starting to happen to her. I immediately had a lot of sympathy for her - which I think is the thing about Jennifer, and her performance of Jennifer, that is really crucial. She can play the alpha female, but there is a moment where we have to see her as more of a girl. I remember when we talked about the moment where she approaches the guys in the band. I said, "I would love it if you could be... not so smooth." And she really understood that; she could really get that.
And with the sacrifice scene, I just told her, "Megan, it's really important that you be incredibly frightened for this girl at this moment despite what's going on with the dialogue." And she said, "Oh, it would be irresponsible of me to be anything but terrified and fighting for my life." And I was like, "Ah! You are my kind of girl!" She understands that there is a responsibility in committing to a role and being a role model. I'm sure there is a part of her that doesn't want to do that, but in playing this part, she understood that we can't have a throwaway scene or make a joke out of what has happened to this character. Even if the whole movie is populated with jokes, this isn't funny. And that's a real credit to her intelligence. I was probably really nervous before I met her about whether she could act. I hadn't seen TRANSFORMERS. I had no interest; it just isn't my kind of movie. But as raw as she is, she has a lot of thoughtfulness to the process. She was great. Really great.
Beaks: And then staging the scene.
Kusama: Yes.
Beaks: The kiss.
Kusama: (Laughs) Oh, I thought you were going to say the sacrifice! That's funny.
Beaks: (Laughing) That scene is very impressive, too, but this scene strikes me as very...
Kusama: (Still laughing) No, no. It is a centerpiece.
Beaks: Yes. It's shot in extreme close-up. And I assume that's them kissing in that shot.
Kusama: Oh, yeah. That's them. And I will say that it was a very difficult shot to get because it is such an extreme close-up. It is a real technical achievement! (Laughs)
Beaks: There's something very important happening in that scene thematically, but it is also very titillating and exploitative. In shooting it, how did you capture that heat without compromising the integrity of the scene?
Kusama: That's a good question. Whenever something thematically meaningful is in front of us, we always take a risk that we are exploiting it - because if it's meaningful, it stands to be exploited. We don't want to exploit things that are meaningless. It's not worth our time, I guess. That's why the porn industry is so successful; they exploit this physical act between two people. I knew that this was going to be titilating for some people in the audience perhaps, but I always felt like this scene had to function in two ways: it had to tell us something deeper about the relationship that we hadn't really understood at that point between Needy and Jennifer; we had to understand that there was a romantic, sexual component to that relationship that had a lot of currency for those characters. That was part of the glue that kept them together: this sort of safe, sexualized girlhood relationship. And that's a common thing, whether it's between girls and boys, girls and girls or boys and boys. It happens, and oftentimes just goes unspoken. So what I was hoping with this scene was a moment of, "Oh, this is another component to this totally toxic relationship I'm having."
But also I felt that it had to be erotic. I mean, if it wasn't sexy, what's the point? I'm so tired of watching women being forced to play sexy with other women, or play a romantic or sexualized relationship with another woman, and not commit to it. I'm so sick of watching little pecks on the cheek and little nuzzles here and there. I want the same stuff everyone else does. I want to see that there is some exposure and vulnerability. I want fucking tongue! (Laughs) I want to know that this is real! And in talking to the girls about it, I said, "Amanda, Megan, I know this is a big day. And I'm sorry that you might feel uncomfortable about this. But the point of this is that it is sexy. It is real. That's what makes it a little frightening and a little dangerous." And in the context of where this scene is showing up... people can tell me until they're blue in the face that I'm exploiting this moment, but a lot of my female friends watch that scene, and they say, "That's the scariest scene in the movie." Because they don't know what's going to happen. You don't know who's paying who, you don't know when the teeth are going to come out.
I feel like I did that scene my way, and I'm happy with it. And if guys come along for the ride and try to trivialize it as something made purely for them, that's the risk I take making movies. But I ultimately feel that that scene has a function in the storytelling and in the tonal weirdness of the movie. It is really sexy, but I also feel like it's anxiety-provoking. I don't watch that scene and get lost in a sort of porno glaze. (Laughs) As titillated as I feel, I'm also on the edge of my seat. But, look, in the process of making this movie, no one on the studio side has ever said to cut a frame from that uncomfortably long scene. (Laughs) Die-hard feminist that I am, I would've been comfortable with that close-up [of the kiss] being the teaser trailer for the movie. I think it's incredibly powerful. I don't think it's being made just for male pleasure; I think it's being made for people's pleasure. I just think it's beautiful to look at. (Laughs) Maybe I'm crazy.
Beaks: No, that's fair. SLUMBER PARTY MASSACRE is a feminist slasher movie, but they sold it with that great shot of the power drill between the legs.
Kusama: Exactly. I think also when you deal with horror, the politics are just necessarily a little more complicated; they inherently hold a lot more gray area. To me, it's a richer conversation that's being had between the audience and the filmmaker. I'm sure plenty of people will disagree with me and just not like the movie, but that's a different conversation.
Beaks: We're two years removed from JUNO, and Diablo's style has now been mimicked and relentlessly parodied. Are you at all worried that people are going to obsess on this with your film?
Kusama: I knew it was going to be an issue while we were making the movie and while we were cutting it. There are going to be people who hear her name and then decide to attach a very sort of specific label to the style they're perceiving in her writing. But I actually feel this film is quite a bit different from JUNO. It's thematically different, but also gaudier and stylistically out there. The brilliance of what Jason [Reitman] did with JUNO was to play it naturalistically and not really muddy the waters with too much editorial, fancy-pants filmmaking. (Laughs) And I think for me with JENNIFER'S BODY, I knew I had to approach it differently. I couldn't have these characters deliver these lines and experience demonic possession straight, so I had to come at it from my own point of view. There were moments in the editing process where we realized there were certain jokes that were too funny. They almost imbalanced a bigger trajectory that the film was on, so we had to cut jokes that worked the best sometimes. In that regard, I think we had to, in terms of Diablo's voice, make changes that maybe none of us were totally happy with. But I also think that's because her voice is specific and tricky. And I'm sure any filmmaker who is working with a script that has so much linguistic richness is going to have to assess their success or failure in communicating that richness - and maybe I didn't always succeed. So I had to pull back in certain places and give the audience some room.
I never really felt like her script was over-stylized. I just felt like it had a craziness that was distinctive and refreshing. I felt like the same person who could say "These things are like smart bombs. Point them in the right direction, and shit gets real", is the same person who can imagine your best friend appearing in your kitchen looking like she's been gang raped, and those two characters having a silent standoff. There's a power in that scene that I'd never really seen before. A weirdness. I feel that there is a weirdness in her dialogue and a weirdness in her storytelling abilities. She's just plain talented.
I'm very fascinated by the online internet chatter about Diablo. I'm so disappointed by the complete lack of substantial dialogue about her work.
Beaks: Substantial dialogue is tough to come by on the internet.
Kusama: I know, but it's just fascinating the number of times I've read someone call Diablo a "whore". And you wonder why she writes a script about an attractive woman who eats men for lunch. Makes perfect sense to me.
Beaks: This is true. Write about any attractive woman online, and your comments section will soon be filled with the most disgusting kind of objectification. And they'll make it as freakishly sexual as possible just to elicit a response. I'm quite sure these people are not...
Kusama: Happy people.
Beaks: Or dating much.
Kusama: Dating "much". (Laughs)
Beaks: I'll give them the benefit of the doubt. But when I read that stuff, I'm glad Diablo's out there doing what she's doing.
Kusama: I see it with Megan, too. It's as if people who put themselves out there are somehow deserving of this hate thrown at them. It's just odd to me. If you don't want to look, don't look. If you don't want to listen, don't listen. There's no need to create this new dictionary of hatred.
Beaks: I think it bothers a lot of these guys that they own their sexuality. They're not just going to sit there and look pretty.
Kusama: There's a discomfort people feel.
Beaks: And then they have to run them down to feel better.
Kusama: It's so weird.
Beaks: You're obviously hoping JENNIFER'S BODY is a hit, but--
Kusama: Are you kidding? I'm hoping it's a monster hit.
Beaks: But are you hoping it's a hit so you can go off and make something a little more personal, or do you want more freedom to do something bigger within this system?
Kusama: There are movies I want to make that if I could just rustle up $5 million, I would make a very truthful expression of where I'm coming from as an adult in this fucked-up world. And I really want to do that. I really want to make those movies. Honestly, it's as hard - if not harder - to find $5 million for an independent movie than to find $50 million at a studio. So I'm really struggling with it. Sometimes, the movies I want to make are bigger movies: they have more scale or just more necessity for resources. But oftentimes I think movies that have really hit me hard are just great ideas beautifully executed for as little money as possible. I'm happy to make those movies in that way, too. I have an appetite for all kinds of movies; it's just a question of whether this business has an appetite for me. (Laughs) I just have to figure out as I go what the next thing is going to be. I've only read a couple of studio things that I really like, and, ironically, they definitely tended toward horror. And that's just because I think that when a good writer gets their hands on a really cool idea and beautifully executes it on the page, I just see the possibilities. Horror activates that for me - and sci-fi to a degree. But another part of me would love love to make a movie where I could be prepping it in four weeks, shooting it in four weeks, cutting it in twelve, and having another movie under my belt that's a little smaller and a little weirder.
Beaks: When you're dealing with the studios, do you feel like they're bringing certain material to you because you're a woman?
Kusama: I'm not sure if it's because I'm a woman. One thing I'm struck by is that, from GIRLFIGHT to AEON FLUX to JENNIFER'S BODY, people were often saying, "We can't quite figure you out." That's not necessarily a good thing, that there's a sense of "Who are you?" or "What are you trying to do?". I'm like, "Well, these last three movies were attempts at doing something I wanted to do, and the next three or six or ten, I hope, will also be an expression of what I want to do." I'm not looking to tell the same story over and over again. Granted, when I think about a lot of filmmakers, they've made huge careers out of doing that, and some of those careers are more than admirable. It's not that I disagree with that game plan, it's just that I'm looking to challenge myself. For some people, trying out variations on a theme is the challenge; for me, it's re-starting the conversation each time. There's a lot that's been on my mind. I could go into horror again and go into dark territory again and be comfortable. But something I haven't done that could be interesting is something a bit more buoyant or a bit more joyful, something with a little more love of life - because I actually feel that! (Laughs) I've got to figure out what my next move is, but I'm open to figuring it out.
Beaks: It sucks that these things depend on how the last one does.
Kusama: I know, and I think about how some of my favorite filmmakers have had these moments where you don't know what they're going to do next, or you don't know how to completely label them. Whether it's a Peter Weir or a Roman Polanski or a Michael Ritchie or a Kathryn Bigelow, I never know what's going to come next. Sometimes it'll be a hit and sometimes it'll be a miss, but it's most likely going to be very different from the last one. Those kinds of careers really interest me. So maybe that's part of my instinct toward doing something completely different from JENNIFER'S BODY. But I also think a lot of times, when you're looking at scripts from the studio, it's the genre pictures that stand out. Because they occupy a place in our imagination already, so you can already have taken that leap to saying, "Okay, I can imagine people watching this movie." And having certain expectations of them of this movie - whether I foil them or deliver on them, that already creates a relationship with an audience, you know? It's interesting.
Earlier this week, we learned that Kusama is developing - what else? - a body horror movie with Rachel Weisz. Here's hoping she gets to really let it rip this time.
JENNIFER'S BODY is currently in theaters nationwide.
Faithfully submitted,
Mr. Beaks
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Can't wait to see her...er this
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Imma gonna let you finish, but I was a much better first, til the login stalled.
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Too long, didn't read.
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garbage. And I'd do Amanda Seyfried before Meghan Fox any day. Fox is WAY overrated.. and possibly a dude..
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Damn, as a low-budget moviemaker...I gotta say...that was one of the most interesting interviews I've read! Great job!
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Damn, as a low-budget moviemaker...I gotta say...that was one of the most interesting interviews I've read! Great job!
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Damn, as a low-budget moviemaker...I gotta say...that was one of the most interesting interviews I've read! Great job!
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My bad ;- (
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It seems like she was really kissing ass to all her nerd fans the way conan asked about her liking "geeky" guys and how she said she want to comicon last year w/a bodyguard looking for a ninja turtle shirt but no one noticed her. I think she's trying to do some damage control after that letter from the transformers crew scenario. Personally I think she's got a beautiful face but her tats suck. Put Odette Yustman in a Voltron movie or heck even Go Bots movie and I bet she'd skyrocket too.
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Good interview Beaks but I love how all the "inspiration" movies are discussed but not how this is a total Species rip. Natasha Henstridge naked>Megan Fox not naked. Awesome that you brought up Diggstown too. I fucking love that movie. Great cast and Bruce Dern plays such a turd. The best character in Diggstown though is..James Woods wardrobe. Check out the fuckin shirts and ties on him in that movie. So fuckin funny.
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Megan Fox can't act and doesn't have the screen presence of actresses such as Angelina Jolie (who oozes sensuality).
They can pretend this is a deep commentary on sexuality in high school but really it's a subject matter that has been done to death. I just know if I watched this I'd be going "this was done in Species... This was done in The Faculty..." and so on.
All the early reviews I've read say it's not scary, it's not as smart as it thinks it is and it chucks knowingly quotable lines and pop culture refferences thinking that's what you need to make it funny.
Just buy Drag Me To Hell on DVD for something which is both scary and funny. The Hole has potential too (I live in hope that Joe Dante will be able to replicate the brilliance shown in the Gremlins films). -
Sep 18, 2009 2:50:56 AM CDT
DIRECTED BY A DYKE, WRITTEN BY A WHORE, STARRING A SLUT....
by carlthormark1978
No thanks, I'll stick with my copy of Hello Mary Lou Prom Night 2. There's a reason that this has been on the shelf for a year and a half. You know what really bothers me about this movie? It’s that Cody and Kusama were never interested in just making a Horror flick, no, it has to be a fantasy about men being killed because Cody wants revenge for all the guys she wanked when she was a stripper while Kusama is only there because of the lesbian overtones.
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She drew a picture of him (allegedly) that was good and claimed to be a fan of Gen 13 and J. Scott Campbell. Maybe she aint all TnA. Just mostly TnA.
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beat ya to it. You owe me a coke;)
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Another male bashing flick - just like Juno was. I love the way ugly women project when they get a bullhorn. Men get rich and famous - they fuck good looking women, which only pisses off the ugly bitches like Diablo even more.
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Sep 18, 2009 3:02:25 AM CDT
JB IS A FEMINIST WANK JOB DISGUISED AS A HORROR MOVIE…..
by carlthormark1978
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another thing Jolie is better at than Megan Fox: having normal thumbs.
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You can join my chapter of "NOMAMA". To much man hate. To bad they need our seed.
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Not seeing it.
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Gee, I wonder WHY women have any sort of angst against men.
Oh, and CarlThorMark1978: Way to simplify a brilliant interview into dust to justify a hateful point of view.
I really shouldn't read talkbacks. God, you people fucking piss me off. -
Al Bundy is spinning in his grave
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think i'll go on AICN and have an intelligent conversation
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surely it's not just me
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Damn Beaks, you should of put a 'long-winded' warning at the start of that article. Got halfway through and then ran out of puff.
You seem guilty of over-analysing this particular movie. Kusama's far too close to the project to see the forest for the trees but you should know better mate. Will audiences really 'get' all the themes and layers of depth that you mention? Is it really an 'important' film about the human condition or just a fun, schlocky 90 minutes?
"The one perfect aspect of Jennifer's Body is its title: No one is going to like this movie for its brain." wrote one paper. Reviews for this so far run the entire gamut from 'average' to 'extremely negative'. -
they probably wouldn't go see this movie, unless their neice begged them to...maybe not Lao Che though.
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Thanks man, now I have the utimate insomnia cure!
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Did English class in school send you to seep too? And CarlThor - dyke? Really? You just haven't got a fucking clue have you? Pathetic.
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for some reason i was stupid enough to read through that entire interview and all it was about was some try hard explanation that theres deeper messages and themes in this piece of crap. please, its just based on the sexiness of megan fox. i hate that contradiction where women say they hate being exploited for their looks or objectified, but they're the ones who want to be sexy and famous, their trading in on the good looks to get what they want, they objectify themselves. and beaks i could barely read through the cringe inducing suck ass you were doing you wanker of a feminist
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Seriously, nobody could've rescued that movie.Good interview though, and hopefully she'll get more chances at bat. Somebody will pony up $5 million.
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My problem with Jennifer’s Body, and its writer, director and star, is that it feels just so atypical. Has Kusama Directed anything that doesn’t involve lesbianism on some level? Has Cody wrote anything beyond dipshit teenagers who talk like they’re on a chat site? Has Megan Fox done anything where she’s not playing a skank? They think they’re being clever by trying to lure in men with the potential of some nudity and light lesbianism from Fox only to subject its audience to 90 + minutes of man hating. They couldn’t have just made a Horror movie, of course not, there just had to be a feminist/lesbian subtext about how men are bastards, beautiful women are evil and all teenage girls secretly want to fuck each other.
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Too bad I really don't like her movies. I'm sure I'd like her in real life. :)
Seriously, this movie looks and sounds like a major piece of crap. And I'm a BIG fan of Juno, so it has nothing to do with Cody.
Personally, I think she would have been better off being 100% faithful to the script. After all, Cody has an Oscar under her belt. What does Karyn have? No good movies, that's for sure. -
The dialogue is ridiculously witty, yes, but that's the universe the movie exists in. I'm not sure why that warrants so much bile against Cody. Is there some rule that dialogue must be realistic in every movie? Sounds kind of boring, if you ask me.
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I have no quarrel with objectifying women; that's natural, part of how our species is constructed.
But she's right on the mark about the really insane hatred that attractive women get from the psychologically disturbed set. I suppose it's a mechanism to preserve talkbacker's dangerously fragile egos. -
Sep 18, 2009 4:05:04 AM CDT
argos_and_the_laminated_book_of_ dreams, YES, DYKE....
by carlthormark1978
Because until Kusama starts making movies that don’t, in some way, revolve around her sexuality, I just can’t take her seriously. If she wants to make movies about lesbianism then she should have the balls to make something about actual lesbian relationships like, say, Go Fish, instead of movies where gay women are defined by how aggressive they are, as in Girlfight and Jennifer’s Body, and how they mimic the worst aspects of male behavior. It’s like how all those morons think that Thelma & Louise is some sort of feminist classic when The Silence of the Lambs is, IMHO, a GREAT feminist movie where Clarice Starling doesn’t define herself by how tough she is or how many people she shoots, but by her intelligence and determination.
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CarlThorMark you do have a point, but by the same token it's hard to take you seriously when you're calling people slut, dyke, whore, etc.
Nothing wrong with lesbians or with lesbian undertones in films. I'm sure most of the guys on this site have seen BOUND, that's a fucking great little thriller. -
Dyke, slut, whore. Cased closed. Next TB!
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LOL I loved this line from the article: "Diablo's style has now been mimicked and relentlessly parodied." Well, given what a shitty writer she is -- by constantly having every single character onscreen talking in the most unnatural way possible -- I think what you meant to say was "Diablo's style IS a parody." Because, truth be told, no REAL human being would ever talk using the culturally fake and groan-inducing lines that she comes up with.However, that aside, nice job with the interview, Beaks. Despite what others have said, I thought you did a great job.
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LAMEST LINE EVER!!!!!!!!!!!!!
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Sep 18, 2009 4:56:33 AM CDT
Cobra--Kai, BOUND WAS GREAT BUT IT WASN'T ABOUT LESBIANISM....
by carlthormark1978
The fact that there were two women fucking each other was incidental and, you see, that’s the difference between a movie with lesbians and one that is about lesbianism. With Jennifer’s Body, the lesbian overtones are only there because Cody thinks that its “edgy” to have teenage girls kissing each other while Kusama is amazed that she gets paid to watch Amanda Seyfried and Megan Fox kiss each other on set. What I find interesting is that you don’t hear lesbians complaining about how their sexuality is being used for light titillation in this movie while it avoids the reality of girls eating each other out in a 69, scissor fucking or fisting which would probably get it an INSTANT NC-17 from those fascists at the MPAA. Kusama, Cody and Fox are nothing more then lipstick lesbos putting on a show for horny geekboys.
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I disagree. Look at how well regarded Jennifer Conelly or Kate Winslet are. Geeks have no problem with actresses who are beautiful who can put on good performances. What they have a problem with are the Megan Fox's and Jessica Alba's who have very little acting talent and keep getting movies for no reason other than they're very good looking. What's worse is when they turn into Divas like Fox seems to have done and forget both the huge break they got (women who look as good as Megan Fox after a makeover aren't as rare as you'd think) and the real reason they're getting good roles.
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lollllllllllllllllllll
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As soon as she said "But I hope I depicted those characters with enough humanity that you understand while you're watching it that you actually should like all of those guys. They're not bad guys. They're not just cliched, date-raping football players." I was done. In our out of context, only an idiot would say this.
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The campaign for the movie is fucking terrible. If this isn't a bomb, it will be a sheer fluke.
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That's a piss poor argument if ever I've heard one. Not one comment about her grasp on narrative, or structure, but rather because she makes films about women you don't find sexually attractive, that makes her a dyke? That's a pretty fucking interesting look at your psyche. By no stretch of the imagination am I interested in this film, but I just find your rationale for chucking the word dyke around behind a thinly-veiled first grader's knowledge of film, to be spectacularly pathetic.
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I have no interest in a "sexy scary funny" horror movie that has no nudity, no gore and is written by Diablo Cody, who isn't funny. At all. On the other hand, I just saw a sneak preview of Zombieland. Go see that. It was so funny I had to cover my mouth so I could hear the next line because I was laughing so hard.
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http://tinyurl.com/mc35zj
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You know what? I beyond caring about Megan fox in "sexy poses". Call me when there's pictures of her with two fingers up her cooch. Otherwise, not interested.
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you can expect a playboy photoshoot and maybe even a 'leaked' sex tape.its a matter of time.
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I've never called her a "whore" and even if I had, it would have been in the context of "media" or "publicity." My gripe with Cody is that her writing is overblown and artificial and non in that cool David Mamet way either. She writes scripts, but she hasn't yet written a movie.
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Sep 18, 2009 6:38:25 AM CDT
argos_and_the_laminated_book_of_ dreams, HAVE YOU SEEN HER CREDI
by carlthormark1978
Girlfight, a movie about butch lesbian boxers, Aeon Flux with its thinly veiled lesbianism between Charlize Theron and Sophie Okonedo, an episode of The L Word and now Jennifer’s Body with its well publicized girl on girl action. Apparently she’s married to a man, and has a kid, so maybe she’s Bi and fucks her husband with a strap on but you have to wonder about her motivations for pursuing so many projects that revolve around lesbianism unless she’s, as I suspect, a lipstick lesbo trying to corner the market in pseudo-lesbian tripe in order to get herself some attention.
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Wake me up when Fox is doing porn.
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How 2006.
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But I think this movie is going to suck. Judging just by the trailer, it looks like it's gonna reek. Megan Fox may be attractive (well, if you don't count her stubby thumbs), but to date she hasn't proved to me that she can act her way out of a wet paper bag. And judging by the Diablo Cody penned movie and TV series that I've had the misfortune of seeing, she's about the same kind of hack writer as that woman who wrote the twilight series.
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WILD THINGS is over 10 years ago... I remember going to see PRIMARY COLORS with my girlfriend at the time and passing the line for WILD THINGS and telling her "they are just here to see chicks make out." Yeah, ten years ago, that wasn't quite yet mainstream. But now? Come on, guys...
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Sep 18, 2009 7:17:42 AM CDT
Yeah, you can see lesbian kissing on NETWORK TV these days
by nasty in the pasty
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Your posts say more about your OWN obsession with "thinly veiled" lesbianism or female bisexuality than they do about the creators of this movie.Michelle Rodriguez may very well be a butch lesbian in real life, but her character in GIRLFIGHT wasn't. Wasn't part of the tension in that movie between her and a boy that liked each other? Maybe I need to watch it again.If you're blaming any lesbian/bi undertones in AEON FLUX on Kusama, you've obviously never watched the MTV cartoons. Aeon Flux was always about polymorphous perversity. That has nothing to do with Kusama's take on the material. If anything, her movie was a more toned down, feminist take on the kinky exploitation of the original.As for JENNIFER'S BODY, the director, writer and star are all publically involved in relationships with MEN, but in your fantasies they were all in Fox's trailer between shots, scissoring, fisting and eating each other out.How furiously were you masturbating over these women while calling them dykes and whores and skanks? Just wondering...
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but with the proliferation of free online porn... she isn't all that? Who cares... again, so much free porn on the internets now!
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To be fair, it makes no sense in this film. It did in Wild Things.
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Wotta' interview. Skip ahead, skip ahead, "THE 'BURBS" is underrated, skip ahead, skip ahead, other horror movies you watched, skip ahead, skip ahead, masturbating over a Leonard Maltin guide. Sheesh.
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and it doesn't look like that will change any time soon. The previews for this movie make it look incredibly corny. It's pretty difficult to balance horror and humor (Scream did a pretty nice job by making the humor come from character, not camp) and Jennifer's Body looks like a complete mess in this regard. After seeing the preview a friend of mine said, that looks like it could have been a good film if Joss Whedon wrote it.
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Sep 18, 2009 8:13:41 AM CDT
Steven Seagal Has a reality TV show Cming out.....
by bizarroasimovlives
Where he's wrking as a deputy sheriff?
Wtf?
Aintitcool didnt cover this? -
See, Megan Fox can't act. Her big acting role was 'How To Lose Friends & Alienate People', and she was dreadful. Mind you, the whole film was dreadful.
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Once she starts to speak, you are faced with the vastness of her superficial intellect. But she's good at using what she's got (what she has for now). Maybe Governor Fox of California isn't a complete impossibility, eh?
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Remember TRAINSPOTTING? SHALLOW GRAVE? A LIFE LESS ORDINARY? All quirky little movies with ridiculously OTT dialogue written by Hodge (yes I know TRAINSPOTTING was a novle first, you fucking pedants) for the most unlikeable characters you'd ever see on screen in the mid 90s, mostly played by Ewan McGregor.
What Diablo cody is doing has been done before, no question. What I DON'T understand is that when some mid-90s Cool Britannia wunderkind writes the worst fucking dialogue EVER, all the art movie wankers want to vdefend this bold new voice in British moviemaking - and then Diablo Cody writes dialouge in EXACTLY the soame over-intellectualised way, and suddenly she's a whore and a slut. It must be 'cos she's a WOMAN that she gets all the hate that John Hodge wrognly escaped with.
Which means that Diablo and Karyn Kusama are RIGHT. -
Remember TRAINSPOTTING? SHALLOW GRAVE? A LIFE LESS ORDINARY? All quirky little movies with ridiculously OTT dialogue written by Hodge (yes I know TRAINSPOTTING was a novle first, you fucking pedants) for the most unlikeable characters you'd ever see on screen in the mid 90s, mostly played by Ewan McGregor.
What Diablo cody is doing has been done before, no question. What I DON'T understand is that when some mid-90s Cool Britannia wunderkind writes the worst fucking dialogue EVER, all the art movie wankers want to vdefend this bold new voice in British moviemaking - and then Diablo Cody writes dialouge in EXACTLY the soame over-intellectualised way, and suddenly she's a whore and a slut. It must be 'cos she's a WOMAN that she gets all the hate that John Hodge wrongly escaped with.
Which means that Diablo and Karyn Kusama are RIGHT. -
...Man, I am fucking tired.
And off to work now, too. Let the Spud bashing commence... -
It's THE GILMORE GIRLS audience that thinks this chit-chatty garbage is actually entertaining. Hey, people love professional wrestling too, which I never understood. But there ya go, fake hipsters (the real ones are too cool for Cody) embrace her retread as fresh material. I mean Sweet Jesus, she did a horror-comedy set in HIGH SCHOOL!!! What's next, a romantic comedy set in HIGH SCHOOL? Wait, she already did that... I sense a pattern here.
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I'll simply go to the nearest bar at night.
Or... get on the internet.
No need to watch a horror movie that supposedly has no gore or nudity. Fuck that. -
Megan Fox may is clearly intelligent, but she really can't act.
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everyone in hollywood is at one time or another a slut--then whore, the when you get the power a dyke...DIDNT YOU SEE BOWFINGER?
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Sep 18, 2009 9:41:57 AM CDT
Ok, I sorta wanna see it now. I just have one question...
by royston lodge
...as someone who gets zero pleasure from watching Megan Fox on-screen, how is her performance in this movie? Can you only watch this movie if you already lust after Megan Fox and therefore you don't care if she can act or not? Or is her performance compelling enough that a viewer will enjoy the flick even if every other time he's seen her on-screen it's like fingernails across a blackboard?
Best analogy I can think of is the Spiderman movies. I despise Kirsten Dunst's performance in every movie she's in (with the exception of Interview With The Vampire). Every moment she's onscreen in the Spidey flicks I just wanna gouge my own eyes out to make it stop.
So, if everything about Jennifer's Body is awesome EXCEPT for Megan Fox's performance, I really do not want to see it. -
Sep 18, 2009 9:46:09 AM CDT
cymbalta4thedevil, I WANKED UNTILL AIR SHOT OUT OF MY COCK!!!
by carlthormark1978
To Hell and beyond!!!
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And I say that at the risk of sounding like lockesbrokenrecord. That said, if she did suck she would have made enough money so that she wouldn't have had to give up her day job.
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who exploit women just like men do. They're such radicals!
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every time she opens her vapid, insane, ignorant mouth. This could easily be remedied by me stuffing my cock into it however.
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It's "seizing one's sexual power" or some other bullshit. Let's see- schoolgirl outfit? check. Cheerleader outfit? check. Lesbian kissing? check. What the funny part about it is they think this shit is exciting to guys. They've managed 2 things in the process: 1) they've only further sexualized teenage girls and 2) they've bored us in the process.
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Sep 18, 2009 11:35:50 AM CDT
megan fox = that skiny chick whos married to brad pitt
by nerd_rage_retard_strength
i thought both of them were hot until they opened their mouths. horrible personality's actually make a hot girl ugly to me. megan fox has 10 minutes left on her 15 minutes of fame.
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means that she is empowered? most men act like douchbags... megan fox is a douchebag... therefore megan fox is empowered!
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Cant see why anyone will pay to see this film just for a 30 second close up of two girls kissing. There are way hotter girls on the internet and you can watch them tongue-fucking each others asses for 3 hours.
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Wow. I know I shouldn't be surprised anymore by the spew in these talkbacks... but I am.
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Sep 18, 2009 12:28:52 PM CDT
Idea for the split diopter shots probably came from David Mullen
by toilet_terror
He likes them. He also shot the very good looking (but fucking retarded) Polish brothers films.
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Sep 18, 2009 12:42:40 PM CDT
Hobocode and Sly Stallone, you both have very valid points...
by lanemyersclassic
Now, excuse me while I have a wank.
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I'm asking because, although I have a vivid imagination, I would still like some help visualizing Megan Fox taking it in the ass. Point me in the right direction please.
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I hate how "empowered" women are portrayed as women with the worst qualities of men. It's fucking bogus.
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Just go to redtube.com there is so much free porn on there that one of the women is bound to look like MF
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Look up Karlie Montana. She makes Fox look kinda busted in comparison, IMO.
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Sep 18, 2009 1:14:30 PM CDT
2 Girls 1 Cup = A horror movie with better lesbian kissing
by turketron_2
The full movie "Hungry Bitches", not the pussified short version that you showed your friends.
It... changes you. -
Belladonna - something about her gap toothed smile does it for me.
Lily Thai - Very enthusiastic asian
someone post some more -
Both are dead thou, sadface.
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Georgia Jones Celeste Star Justine Jolie Jayme Langford Ellie Idol Carli Banks Jezebelle Bond A few of them are probably better actors, too.
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Nothing.
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Needs to be made, to make the first one more understandable then.
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And the great pains directors take to shoot around it?
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Gauge... Tori Lane... those blonde twins... Eva Evangelie or whatever the fuck shes called
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Are you quitting on me? Well, are you? Then quit, you slimy fucking walrus-looking piece of shit! Get the fuck off of my obstacle! Get the fuck down off of my obstacle! NOW! MOVE IT! Or I'm going to rip your balls off, so you cannot contaminate the rest of the world! I will motivate you, Private Pyle, IF IT SHORT-DICKS EVERY CANNIBAL ON THE CONGO!
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Shit, what's her name... it's Eva Angelina? I get that mixed up. But yeah, she only does anal and oral penetration and lesbian. Never seen anything stuck in her poon.
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Sep 18, 2009 3:07:21 PM CDT
SLY_STALLONES_COCK_VEIN, YOU MEAN THE MILTON TWINS...
by carlthormark1978
Guage is also great. Melissa Ashley. Little Cinderella. Sierra. Jada Fire. Tyra Banxxx, Lisa Sparxxx. Kitty Yung.
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Sep 18, 2009 3:13:32 PM CDT
is it possible to sit on a desk like that?
by supercowbell5thecowbellhasspoken
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At least she used to.
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Lotta references to 'The 'Burbs' on here lately. I like it.
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Calling a married woman you know nothing about a 'dyke' makes you a 'retard'. And I don't even have to know anything else about you to say that.
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Just viewed this monstrosity. It is slow. It is boring. I don't care about the characters. Every "bit" they tried I have seen done far better in other movies or TV. I can find nothing to recommend about this film.
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Very thoughtful interview. I only found out about the 'Burbs alt. ending yesterday. I hear it's got a great Henry Gibson monologue. True? Personally, I like the studio-mandated ending. Some great lines in there.
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It is called PERSONAL FILMMAKING. Make a film that is something you feel strong about and have a personal connection with. It is what Cassavettes told Scorsese to do, and it is what Scorsese still champions to this day.
She is a lesbian. It is important part of her life. Why the fuck shouldn't she comment on it? Would you tell Scorsese not to make films about being an Italian-American, a Catholic or a sexually repressed person? Tell John Sayles not to make a film based on his liberal political views? Or Peckinpah to make a film that wasn't about his ultra-misogynistic overly macho beliefs (God, those were good)?
The problem isn't her lesbianism, the problem is she is making a film with limited appeal (maybe because of the lesbianism since we don't relate to it) or she is making a bad movie.
But to tell her not to make films based on her sexuality or political agenda is just fucking wrong. If I had a camera, every film I made would be about how much I love skanky bi-sexual women (although, strangely enough, Megan Fox isn't on that list). -
If you think women don't "objectify" men in exactly the same way, you are sadly mistaken.HOWEVER, just because we see Megan, or any other young lady, as something we want to give a sperm transfusion to, doesn't give us the right to speak of them disrespectfully. When you do so, you are actually disrespecting yourself and every female you've ever known.Just sayin'.That being said, Megan Fox can drink my milkshake any day of the week. ;)
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All this talk about "Body Horror" and his films aren't mentioned once? Kids these days. Either that, or they're ripping him off so they don't want to bring up the comparison.
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However, I just do not have the time to write something that does this article, and TB, justice....maybe later.
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Sadly I haven't been used as such in quite a while.
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The Spanish (supposed) porn star daughter of Diamond Dave. Not sure if she's still in the biz or not, but she's damned fine. Also, while we're on the subject of hot Spainsh porn stars, Silvia Rubi looks like the punk rock mashup of Milla Jovovich and Parker Posey circa 1995.
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dissapointing gents, very disappointing
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Sasha fucking Grey...there is no substitute.
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I was about to say the exact same thing. She's purty.
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i had no interest in seeing this previously, now i very well might. thanks
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We discussed him in one of the digressions I cut from the interview. Here it is:
Beaks: That's a very Cronenberg impulse. He would be very titillating one second, and then completely gross you out the next.
Kusama: Totally. I was just watching DEAD RINGERS again recently. It's one of my favorite movies. And the treatment of sex in that movie is so interesting. It's so vulnerable and raw, and so uncomfortable to watch. You feel like you're watching two people at a really bad time in their life. It's sexual, but I'm not sure if I feel any kind of titillation from it. And then he does that thing of pulling out the rug, which he does every time, and all of a sudden Jeremy Irons has some giant tumor coming out of his belly. He really taps into the anxiety of sex. This is obviously a little prettier than that, and I knew this when I was shooting it. -
and completely sexually depraved. The perfect woman, she should be cloned so everyone can have some.
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is that everyone who comes to this site is a depraved porn addict? not that there's anything wrong with that.
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That's funny, a co-worker and I were just discussing how Obama's ratings would skyrocket if he pledged to 'Put Two Shakiras In Every Garage'. Have you seen the Soderbergh movie she did?
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This was taken from TheForce.net Hopefully it's bullshit:
According to an article at IrelandOn-Line, an unnamed source states that Steven Spielberg and George Lucas are exploring the idea of adopting a script for Indy 5 that would feature the return of Indy's dad.
"A source said: "Steven Spielberg has been working on a script with George Lucas and there is an element of the story that could see Sean returning. Anything is possible in these movies and if Sean wants to return he will become central to the new story." -
Karyn hurriedly picked up the line, "Hey" she breathed into the phone,"...Diablo...was just thinking about ya...and Hell no girl, I'm..... NEVER too busy for.... you" said Karyn, her voice full of excitment. This whole few months had been a God Send for Karyn, but thats how this town worked...from famine to feast overnight; one day you are the director of one of the most memorable flops of the last decade, all but begging to get a job, the next you're tapped to direct Hollywoods current Chick Writer Du Jours latest female centric script. Plus, thought Karyn, "Diablo is so hot...I'd suck cock to have 5 minutes alone with her, a jar of orange marmalade and bag full of gummy bears."...."Karyn...hello...you there" Diablos voice snapped Karyn from her luscious daydream..."Ya...so...uh....whats up?". "Well," Diablo droned, "I...just..thought..that..You..would..like ..to spend a little time with you female lead and me...that's all" It was at this point the floodgates of lust opened between Karyns thighs..."Oh...Yes!" replied Karyn, her voice quivering with anticipation.."I'd LOVE that...it'd be...good...to know her before we shoot". "Perfect then....Say 10ish..at the Cat and Fiddle?". "I'll be there at 8:30" replied Karyn. Hanging up...it was all she could do to walk to the shower, she had remembered what Diablo had told her about Megan...the "screen test", Diablos conversations with that asshole Bay, Karyn was on the verge of sapphic tears her excitment was so peaked...she popped a Valium, hoping to take the edge off, "My god, I can't puke from a nervous stomach" she thought. Yes, these few months had been good ones for Karyn...and they looked to get even better in about 5 hours....
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I'm not sure I want my image of Sasha tainted by legitimacy. lmaoAnd I tell you what...I'd vote for Satan himself if he put a Shakira in my garage..even my wife lusts that broad. lol
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Sep 18, 2009 6:35:56 PM CDT
Nerd_Rage_Retard_Strength..If you think we are depraved now...
by conspiracy
stop by tomorrow and read what I write. What few remaining thoughts you may have that we are NOT will be put to rest I can assure you.
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Conspiracy, your Diablo dialogue is hilarious! Spot fucking on.
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While I'm not familiar with her work, IMDB tells me she starred in Cum Fart Cocktails 5. Which I respect.
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Just saw the movie today and wasn't all that impressed. Even the lesbian kiss couldn't save it. I think Diablo Cody borrowed a lot from the "Evil Dead" and "Exorcist" films.
I think it could have been better. Bad film making, bad acting...the gross out scenes seems to be trying too hard.
The film would have been much better Megan and Amanda both did a nude scene with breasts exposed and all. This is not a true teen horror movie with no nudity. Sorry Diablo. -
and I thought Megan Fox was gonna be an Oscar contender.
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And I, in turn, respect you for that.
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Having at least 4 sequels implies that there is a considerable fan base for the 'Cum Fart Cocktails' franchise. And what would attract you to star in the fifth?
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It's not nearly as bad as some are making it out to be. Some of Codys "unique dialogue" makes an appearance, but it rarely made me wince. I would have loved it if I were a teenage girl at one point, but as it is, it's just good movie. J.K. Simmons is great as the over sensitive teacher. Megan Fox did a good job personifying the horrors that hormones can have on a teenager. Definitly enjoyable. You could do a lot worse.
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A paycheck?
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Sep 18, 2009 7:13:10 PM CDT
I believe the attraction lies in the "Cum Fart Cocktails" themse
by cheyne_stoking_dms
That's just one's educated guess.
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spot-on work, my friend. You write women who think they can write women better than women.
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The freckles get me every time.
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But I think business would probably have to mixed with pleasure in this instance.
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Grey all day with a little Roxi Reynolds thrown into the mix
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-it's Not necessary that Every movie be for Everyone(does that make sense? no?)- Megan Fox is a looker, she's the 'It' gal of the moment, in a couple years she'll be where Jenny McCarthy is now(!) or so. Cyclical. Ditto for Fuego Cheyanne or whatever her name is. Diablo Cody(!) okay-ease up on slamming her too. She's just a writer, yes she has a weird background for it--but *shrugs* she's what she is. You prob. will forget about Her in a couple years, too, right? And Mikey Bay will be back w/ yet Another Giant Robot movie. It's all good.
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Grow some balls, man. It's Rosh Hashanah!
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without seeing Megan Fox's skank ass and Michael Bay is wiping his ass with 100 dollar bills, but IT'S ALL GOOD, because the Phillies are winning!
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Lobbing insults at the director and calling her a "dyke" bc of your perceptions regarding her films is just uncalled for.
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Seriously, you could have saved your money, walked to the nearest bar and given it to two drunk college girls to make out. Would have been more worth your money than the garbage that you just watched.
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Hot damn..! I had not see her before (of course there are hundreds of these girls, who can keep up). And named after an Anime character..., Fuckin Rad! lmao
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If it were a "feminist wankjob" film, then all the guys in this movie would be assholes and jerks, instead of the innocent victims they are. Really, its no different than your standard slasher film where innocent girls get killed. Do you not see a difference between those films where the victims are all female and this one where they are all male?
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tube8 has a nice collection of Faye.
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Sep 18, 2009 10:22:03 PM CDT
Now while not the prettiest of the bunch, Stephanie Swift
by yackbacker
Will always be a favorite of mine. That's a 1990s thing...
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Bc the Faye I remember was hot. For an animated figure, I mean.
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Sep 18, 2009 10:32:03 PM CDT
Yack....brother...Stephanie Swift was my first porn Crush
by conspiracy
And still is. Why? She doesn't look like a cock whore. She looks so cute, and sweet, and the next thing you know she's got her tongue up some girls ass. Petite, Natural...a Goddess...My Stephanie. Or...second porn Crush...Ashlyn Gere was the first porn actress I truly ever noticed. A Friend saw her perform at Mitchell Bros. in San Francisco...claims till this day she had the best smelling ass he has ever encountered.
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Love the Japanese...genetically, real women can't look like that...but just you wait till they get those sex robots perfected. I'm placing my robot Faye pre-order with Sony ASAP.
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Somebody just fucking tell me if Seyfried gets nekkid n' shit.
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The best you get is a tiny bit of sideboob. But I thought early reviews said she DID get full frontal? Am I remembering wrong? Very disappointing.
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...if the people above contrasting Megan Fox's physical attractiveness with various pornographic actresses realize they're just proving the author's point for him? That require them to read the words instead of just looking at the pictures, though.
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That the marketing,...Diablos, Megans, the studios...well...it works. They worked hard to sell us sex...don't put them down because it is working!
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It makes you wonder if he really believes the BS he writes regarding the filmmaker and his/her product before he interviews them. This is a flawed project, but the way he tells it, you'd think it was a brilliant satire or a full fledged homage to the genre. Its neither.
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I probably could. It doesn't take away the fact that it was enjoyable though. Too many people drink the kool-aid around here. I understand why people could get frustrated with the way she writes. I think she understands that too. But when you personally attack someone, it gets to a point where you look sad. I enjoyed it, and suggest people see it before they judge it. It's a fun movie.
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"I want to do almost everything except romantic comedies." I tell everyone the exact same thing. Minus the "almost".
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I worked on some soft-core movies with Stephanie Swift. Including one were she plays a Catholic (I think she was supposed to be Catholic) school girl.
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That statement by Beaks confuses me.
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and you got paid too?! Lucky man Conti...She is the creampie of my dreams, the Apple ass of my desires...I'd pay to have the privilege to bath her, gently, with my tongue, after 12 hours of grueling desert location gang bang work, I'd....well, you get the idea.
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...Just so I could learn that there is actually a movie called "Cum Fart Cocktails." And Part 5 no less!As for favorite porn stars, I'm showing my age when I say I miss the classic stars of old like a Seka or Kay Parker or Honey Wilder and so on. And I can remember when porn was filled with hot scenes, but it was also strung together with at least SOME sense of a plot, to try and draw you in even more.Then again, the late Richard Jeni made me laugh out loud in a stand-up comedy skit when he noted that no one ever gets to the end of a porn movie and says, "Gee, that's funny. I didn't think the story was gonna end THAT way."
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If this entire plot seems a tad familiar, look no further than the movie above.
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"damn it" she fumed to herself, "If I hadn't spent all that time looking up the Japanese symbol for "Hot", and then an hour with a mirror shaving my bush to match..I'd have already been there!" Still, she thought, it did look cute...even if after doing it she realized there was no chance in hell she'd get anywhere with Diablo and Megan..."But...with a few cosmos and a little luck, ... ooooh, stop lying to yourself Kayrn," she thought further,"..its just drinks...a get together...work" She rolled to a stop at the Valet and rushed inside. It was easy to spot them, they were in the rear, in a booth, and guys were hovering like flies around them. "Damn", Karyn thought..."already a fight over them, and I'm not packing a loaded cock." She straightened her little black dress and walked over. Diablo was just as she remembered her from a month ago...a certain sleaziness, and confidence, that all strippers have about them clung to her even tighter than the sheer black lace mini-dress she sported. In the darkness of the bar Diablos milky skin positively glowed, her tattoo set off like neon on her arm..."Hey...dudes...seriously..you need to take your lick-a-sticks away from here, these muffins don't need any butter tonight... tonight..k?" Karyn felt her nipples harden at Diablos hipster outburst...so strong...yet so feminine. As the dejected metros walked away...she caught her first sight of Megan...her thighs tensed. If Diablos tats and personality turned her on..the visuals alone were enough to push every button she possessed. The raven black hair, the puffy lips, and the tats..."my God", thought Karyn."look...at...those..Tats!" Karyn wasn't sure where to begin...the Monroe, the back of the neck, and visible through the barely there halter top what seemed to be script running down her side..."its like a pissed off screenwriter and a Graffiti artist on crack had an orgy with her" Karyn mused. It was Obvious Diablo was taken with her...and she knew without doubt that the stories Bay had relayed to Diablo were more than true...the stoned, dead look was just the icing on the skexy cake. Karyn sat down...Hey Karyn...sorry about the cock party, this place is crawling with metroards...full gay, but still think they have a taste for the vag." "Let me introduce you to our shining star Megan...Megan this is Karyn Kusama." "Hey...nice to meet you" said Megan offering a whisp of a smile.."Like ....I so Saw Aeon Flux like 3 times...Brian seriously loves watching that chick spread in every shot"...,"tthanks..." stumbled Karyn...transfixed by the personification of empty space before her..."Ya...like Michael told me...ya know...that I seriously needs to keep at the sex angle for my career...and so...ya know...I REALLY wanted this part...it just feels so...ya know...Me, I just know this girl....ya know"...Karyn had heard about the casting of Megan...how after watching Megan in Transformers Diablo had straight home and called Bays publicist...how bay relayed Megan was more than "raw", that she had trouble with syllables, that she fucked up her lines and slept far to late, how make-up spent thousands covering up her tats....but also that she was a champ in the sack and since the movie her presence ensured the geek, teen, and virgin male demo. How Diablo had gotten drunk with her and told her to call her Nikita, and how she had done a striptease for newly minted starlet Megan. yes, She was perfect for the role. "Have some more Absinthe Dolly" cooed Diablo...as she poured the liquor for Megan. A shock went through Karyn just then...as she felt Diablos warm hand touch her thigh...caressing it...she leaned close, Karyn could feel her hot breath flowing over her neck..her lips almost brushing her ear...."shes perfect isn't she Karyn...our "Jennifer"..." Diablo whispered, the salacious tone..the moist hot breath on her ear, "oh fuck..."thought Karyn..."this movie is going to be blastastic baby" the words slithered out of Diablo and Karyn felt them penetrate her...writhing through her ear and down to the now quite hot center of her world..." OUR...Megan" Diablo said..as Karyn turned to face her. Diablos eyes were full of lust...
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Enjoy your trip, Megan.
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Sep 19, 2009 5:36:53 AM CDT
JENNIFER'S BOMB, THE DIFFERENCE BETWEEN MEN AND WOMEN.......
by carlthormark1978
People are under the delusion that Shia LaBeef is a box office draw, when the truth is that he has only been in three big hits, all of them based on franchises that have existed for 20 to 25 years. Claiming that Indy 4 and Transformers 1 & 2 were hits because of him is like saying that the Spider-man movies were only successful because of Toby Maguire. I bring this up because people say how Disturbia and Eagle Eye were hits. The fact is that they were hits because girls are fucking dumb and will lap up anything that they think is popular and that’s because they are drones. I sure as fuck didn’t see LaBeef’s presence boost Charlie’s Angels Full Throttle’s box office and that’s because he was virtually unknown and no one could give a fuck. But Indy and Bayformers has thrown him into the spotlight so the stupid little bitches go running to his movies, even if they are fucking awful, just as they would any Jonas Brother, Miley Cyrus or High School Musical piece of shit. This is because young girls are fucking retarded. In comparison, Jennifer’s Body has made a piss poor opening at 2.8 mill and will be lucky to clear 6 to 8 by Sunday. This is because despite all the bullshit that gets thrown at us, for being knuckle dragging neanderthals, men aren’t as easily susceptible to the herd mentality otherwise we would have packed the theatres to get a glimpse of some light lesbo action between Fox and Seyfried. Besides, we know that there are thousands of hotter women on the net doing porn and we can watch that for free instead of wasting good money on worthless shit like Jennifer’s Body. That, my friends, is the difference between men and women.
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Are you going through an ugly divorce or something? Has your woman left you for another woman? Have you never even seen a female boob in person before without having to throw down $5 on the stage?
Because that is the only explanations I can think of for someone to come up with some of the crazy shit you have been throwing around today.
Take deep breaths, realize that if a woman has hurt you not all women are like that, and that you can maybe find another. Also calm down and don't worry so much; getting laid is nice but it is not the most important thing in the world, so don't put so much pressure on yourself for not being able to score.
As for women being dumber than men - how do you explain Crank 2, Monster Trucks and the Spike Channel? -
CreepySinMann--relax pallie. It's not THAT bad-or serious. Jest a movie. Watch something else---Big Robots? Johnny Sokko? Denver Broncos vs. Cleveland this weekend(GO BRONCS)? C'mon there ARE options--
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raving that some of these insane "fanboys" do where they reveal their true colors is truly disturbing. Only here will you see some of the most sexist, mysoganistic, and vile shit said about women. God I hope none of you reproduce and have daughters...
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in a Jackson Pollock sort of way.
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Lets be honest..if you were alive in say 1981...and around ohh...say 14, seeing tits, ass, simulated sex acts, and blood and guts was a big thing, and a big part of the genre. Porn was in magazines you could not buy, blood and guts were not on TV..remember the A-Team. So when something like Halloween, or Friday the 13th crept around...Rated "R" for violence, nudity and strong sexual content...your hormones drove you there like whip cracking at your back. AND, these movies RAKED in the $$$$...even just 10 years ago.But today...Fucking Lord. Want blood and guts? You can watch REAL snipers popping peoples heads, Executions, car wrecks, murder scene pictures... all day on the web, its even on the news. Want Porn? Well my friend...lock your door...hit the Chans or Stikum or AIM...and there are literally HUNDREDS if not thousands of REAL girls who will masturbate live on camera just for the fun of it, hell they even post tit flashes from their camera phones from school. Or hit any of the free porn sites...Porn is nothing...it is mainstream..it is part of everyday existence for the typical American teenWhat I'm saying is that we have become so desensitized to what used to be shocking...that I'm not sure a movie like Jennifer's Body is even wanted by the teen public, which is this things demo. I think there is still a market for the big budget thriller, or perhaps a monster movie...like Aliens or The Thing...but Titillating sex and gore slasher films? I dunno....you tell me.
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this is the best talkback i've read in a long time, even though i'm late and have nothing to add really, heh.
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has much to do with Diablo. Lets be honest..Juno was a hit, a HUGE hit for what it was...and really the only thing Diablo is known for...well, other than her past that is. So based upon that the next project she wrote should at least be given a chance by the public...right? It should do better than the a projected 7Mil opening weekend...correct?No..it isn't the script. It is that the concept is out of date imo. I also think there is perhaps some Megan backlash...the press and publicists have shoved this tart down the public's throats, I really think people are sick of her already. Women, as a general rule, dislike her...all of them I know, and I know a few, say she looks skanky and comes off like a bitch when they see her on tv. And guys..once they hear that they'll see more of Megan in any of her magazine spread than they will paying $12 too see this...it back to the faptop for them.Wrong movie in the wrong age with the wrong celebrity in the lead. Oh...and Diablo...stick to writing chick friendly flicks...Femihorror is so jiffypopped; ya know?
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I can't figure out why its rated R, but they just alienated their biggest audience- teenagers.
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Historically if you look at all the slasher films that DID do huge Box office...Most all are rated R.I really think it is just over for these types of films, and Diablo isn't getting the chick draw she did with Juno because women generally dislike Megan Fox.
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Haha, the subject title is priceless, but anyway.
http://www.fundumper.com/wp-content/uploads/2008/10/vikki-blows-topless-calendar-07.jpg -
Aside from one usage of the F-word (as far as I can remember), there is no reason for this to be rated R. There's no nudity and hardly any gore. I can't figure it out.
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One F bomb might be enough to get you an "R", as would any highly suggestive sexuality (close up lesbian make out). The thought police get stronger everyday, even as society as a whole is used to all this. Strange times my friend.
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do u remember in which transformers2 topic,you wrote your parody with bay fucking fox,and then cumming on the face of the transformers fans? i noticed u mentioned about in,in the talkback about star trek.
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Even if that WAS their one F-bomb and they got the R rating for it, they should have altered the line to get the lower rating. This is one film where I will say it would have been better as PG-13, as far as making money goes. Bc as it stands, its a very lame R film- no nudity, no gore, no harsh language. All those factors would have made it a better horror film, bt this isn't really horror anyway.
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with frontal nude? i remember there were some leaked pics from the set during the filming of that scene. or i confuse the scene with another movie?
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I seriously just throw that stuff out whenever the mood strikes, or an something on the TB inspires me, pretty much forget it afterwards,(except the Indy/Star Trek Stuff..I'm invested there..and will be back...lol) However, Continentalop seems to have a photographic memory about these things though...maybe he can direct you.
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and was wearing pasties in the pics I saw.
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Sometimes they will slap a PG-13 on something that does not deserve it because of "Adult Themes" or "suggestive Themes", It really could be that the hyper sexualized characterization, the Lesbian scene, the sexual innuendo mixed with violence put it over the line.I have not seen it...but from everything I'm seeing from reviews...you might be right...this could have been that rare movie that would have been better with a PG-13...the tween/EARLY teen (12-14)crowd.I'll check it out when the Russians put it up...but from all of this...I'd say that is you LOVE Katy Perry and Lady GAGA you are in the demo for this. Am I right here Vader?
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You didn't find the drinking of the blood out of the emo kids corpse a little gory? It's not Evil Dead gory, but it was way past the point of PG-13.
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I was raised by women and I actually prefer their company, over men, but I also know that they fret over all sorts of stupid shit that really doesn’t mean anything. I do believe that women are intellectually superior to men but emotionally they are fucking retarded which is backed up by the several long term relationships that I’ve had over the years. I love women but they’re fucking nuts. This explains why they obsess over the latest fads and why they make millionaires out of such fucking tripe as the Jonas gimps, white trash Cyrus, Shia LaBeef or all of this faggety vampire shit that we are being bombarded with these days. All of this shit will pass, they’ll be onto the next craze and none of it will display anything resembling substance, just surface level shit. If the same could be said of men then Jennifer’s Body would be making a fortune.
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Wow..you are the angriest and most misguided cunt I've ever seen post on this board..and believe me; for one of the few who have posted here since inception, that's REALLY saying something. How much hate do you hold for women? Bad divorce? Mom broke up with you? No offense bro, but all you're doing is showing your ugly ignorant mysoginistic side (and you actually managed to offend some other guys like myself...good job on that one). You realize there's a difference between sex and rape right? Or do you give women a black eye 'cuz they deserve it'? Sick angry fuck.
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I just think they lower the bar when it comes to pop culture which is why there is more focus on superficial garbage instead of people with genuine talent. When I was a kid I was all about the Ramones, Guns N’ Roses and Nirvana, you know, people who had actual talent as opposed to New Kids on the Block which millions of bubble headed teenage girls ran to see. Look at all this Twilight emo homo vampire bullshit. Vampires are cool but, as always, the focus is on some stupid fucking angst ridden relationship between a sparkling twat and some beyotch. Also, who was advocating rape? I sense some projection on your part, probably from the guilt you feel from molesting all those drunk girls back in High School, am I right? I support women’s rights 100% but that doesn’t mean that I will put up with their bullshit or approve of the stupid trash that they propagate in pop culture of which Jennifer’s Body falls into that definition.
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No I thought the blood-drinking scene was pretty tame. It was honestly the bloodiest scene in the film, yes, but it was very tame. She wasn't animalistic or scary. She was just very calmly drinking blood from a hold in a corpse's chest. I think there have been worse things in PG-13. Could be wrong though.
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I thought the demographic for this was going to be horror fans and genre fans. I thought it'd be a good mix of genre and parody and homage. I don't think many Gaga and Katy Perry fans would be into this either, though. Its not very "poppy" like a shitty Prom Night remake. That's more up their alley.
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You seem to be confusing women with teenage girls, and that' not fair nor is it right. Women don't like the Jonas Bros. or Miley Cyrus. Tween and teen girls do.
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Sad but true.
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Sep 19, 2009 3:16:38 PM CDT
D.Vader, YES, THERE IS A DISTINCTION BETWEEN WOMEN AND TWEENS...
by carlthormark1978
Most women do grow out of that stupid phase where they drool over every fad and, as I have stated, I do think women are intellectually superior to men.
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"YOU HAVE ME ALL WRONG"
Really? Because over on the other Jennifer's Body TB you go on a rant about Diablo Cody's Wikipedia page, which I will quote in it's entirety:
ANYONE READ CODY'S WIKIPEDIA PAGE?
by CarlThorMark1978 Sep 19th, 2009
04:33:26 AM
A complete whitewash that the whore no doubt edits herself since there is no mention, what so ever, of her husband who she dumped the second Juno was a hit and she got an Oscar. This chick is nothing but a walking PR stunt and I'm sure the one and only reason Juno sold was that she was sucking and fucking everyone in LA.
******************************************
What does any of that have to do with the movie? How does any of the stuff you wrote make this a good or bad film? And why would she have to suck a bunch of cocks to make it? First off, she isn't that hot - in Hollywood you have shit loads of young hot women trying to make it, why would a producer or studio executive greenlight a movie because he got a BJ from a writer when he can get one from an actress who can just throw a small, one-line part. Even the casting couch has some sort of logic to it. Not every girl fucks there way to the top.
And as for women having worst taste then men because they like Jonas Brothers or Twilight. Like D. Vader said, that is for tweens and young girls. Young boys like Transformers and Crank 2 and playing video games where you just run around shooting shit. And adult men spend money and time surfing the web looking for porn about guys in a Bang Bus. How is that any less stupid?
Finally, your argument that women are dumber than men because of their taste is just as absurd and stupid as me saying "Black people are really stupid - much dumber than white people - because they like shit like that rap and wear baggy pants. Yeah, White People don't like anything stupid."
Face it, you hate woman. -
Sep 19, 2009 3:44:05 PM CDT
Continentalop, HOW ELSE DO YOU EXPLAIN CODY'S SUCKCESS?
by carlthormark1978
You really think that Juno was well written? Or could it have possibly been the fact that her whole “bad girl makes good” image has been manufactured from the start? The fact that she didn’t mind waving her tits and pussy in strangers faces makes me suspect that she wouldn’t think twice about sucking and fucking everyone in LA to get her script produced.You know why Juno was really a hit? It’s because, as I stated, teenage girls are fucking retarded and it played into their fucking moronic delusions about pregnancy. Juno’s not a slut but an innocent little girl who made one teeny tiny mistake, her parents are middle class and don’t hit the fucking roof when they find out their daughter is knocked up, oh and there is a nice upper class family waiting to adopt the baby which means that Juno gets all the attention of being pregnant while none of the consequences of her actions as she does nothing but throw sarcasm and snark around. The movie tried to be this cutesy little quirky comedy and it made me sick to my stomach that Brook Busey aka Diablo Cody would trivialize teen pregnancy but then she is a fucking moron who’s as deep as her tattoos, piercings and hair color which she uses to hide her middle class upbringing and at the same time rebelling against it by becoming a stripper to get back at Mommy and Daddy.
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Sep 19, 2009 3:44:50 PM CDT
Continentalop, HOW ELSE DO YOU EXPLAIN CODY'S SUCKCESS? EDIT!!!
by carlthormark1978
You really think that Juno was well written? Or could it have possibly been the fact that her whole “bad girl makes good” image has been manufactured from the start? The fact that she didn’t mind waving her tits and pussy in strangers faces makes me suspect that she wouldn’t think twice about sucking and fucking everyone in LA to get her script produced.You know why Juno was really a hit? It’s because, as I stated, teenage girls are fucking retarded and it played into their fucking moronic delusions about pregnancy. Juno’s not a slut but an innocent little girl who made one teeny tiny mistake, her parents are middle class and don’t hit the fucking roof when they find out their daughter is knocked up, oh and there is a nice upper class family waiting to adopt the baby which means that Juno gets all the attention of being pregnant while none of the consequences of her actions as she does nothing but throw sarcasm and snark around. The movie tried to be this cutesy little quirky comedy and it made me sick to my stomach that Brook Busey aka Diablo Cody would trivialize teen pregnancy but then she is a fucking moron who’s as deep as her tattoos, piercings and hair color which she uses to hide her middle class upbringing and at the same time rebelling against it by becoming a stripper to get back at Mommy and Daddy.
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Sep 19, 2009 3:45:36 PM CDT
Continentalop, HOW ELSE DO YOU EXPLAIN CODY'S SUCKCESS? FUCK!!!
by carlthormark1978
You really think that Juno was well written? Or could it have possibly been the fact that her whole “bad girl makes good” image has been manufactured from the start? The fact that she didn’t mind waving her tits and pussy in strangers faces makes me suspect that she wouldn’t think twice about sucking and fucking everyone in LA to get her script produced.You know why Juno was really a hit? It’s because, as I stated, teenage girls are fucking retarded and it played into their fucking moronic delusions about pregnancy. Juno’s not a slut but an innocent little girl who made one teeny tiny mistake, her parents are middle class and don’t hit the fucking roof when they find out their daughter is knocked up, oh and there is a nice upper class family waiting to adopt the baby which means that Juno gets all the attention of being pregnant while none of the consequences of her actions as she does nothing but throw sarcasm and snark around. The movie tried to be this cutesy little quirky comedy and it made me sick to my stomach that Brook Busey aka Diablo Cody would trivialize teen pregnancy but then she is a fucking moron who’s as deep as her tattoos, piercings and hair color which she uses to hide her middle class upbringing and at the same time rebelling against it by becoming a stripper to get back at Mommy and Daddy.
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Sep 19, 2009 3:46:35 PM CDT
FUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCK
by carlthormark1978
FUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCKFUCK
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You really think that Juno was well written? Or could it have possibly been the fact that her whole “bad girl makes good” image has been manufactured from the start? The fact that she didn’t mind waving her tits and pussy in strangers faces makes me suspect that she wouldn’t think twice about sucking and fucking everyone in LA to get her script produced.You know why Juno was really a hit? It’s because, as I stated, teenage girls are fucking retarded and it played into their fucking moronic delusions about pregnancy. Juno’s not a slut but an innocent little girl who made one teeny tiny mistake, her parents are middle class and don’t hit the fucking roof when they find out their daughter is knocked up, oh and there is a nice upper class family waiting to adopt the baby which means that Juno gets all the attention of being pregnant while none of the consequences of her actions as she does nothing but throw sarcasm and snark around. The movie tried to be this cutesy little quirky comedy and it made me sick to my stomach that Brook Busey aka Diablo Cody would trivialize teen pregnancy but then she is a fucking moron who’s as deep as her tattoos, piercings and hair color which she uses to hide her middle class upbringing and at the same time rebelling against it by becoming a stripper to get back at Mommy and Daddy.
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Sep 19, 2009 3:48:45 PM CDT
KNOWLES, GET A MOTHERFUCKING EDIT BUTTON YOU FAT CUNT!!!
by carlthormark1978
I'm trying to past my Word document and it keeps reposting the same shit here.
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Great interview. I don't get all the hate for Diablo Cody. I am not a fan of Juno. Thought it was a little overrated, but not bad, and hardly horrible. I def think Gilroy should have taken home the oscar for Michael Clayton, though. But the hate for her is so malicious and hostile. I don't know. She comes off pleasant enough in every interview I've ever seen.
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...then this movie would have been a hit. I read reports that this film bombed terribly. I'm sure that everyone that went and saw this were expecting to see Meg's naked boobies but we didn't get that in the film. Hopefully they'll have Meg go nude in the sequel?
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It would have shown her penis.
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did somebody retcon that in?
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Sep 19, 2009 4:29:36 PM CDT
Xiphos_2, G'N'R LIES, APPETITE FOR DESTRUCTION, USE YOUR ILLUSIO
by carlthormark1978
Four of the best rock albums ever made so fuck you.
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dopey. wouldn't even be cool in a video game.
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You are right about GNR, wrong about everything else (Use Your Illusion 1 & 2 were mixed bags though).
No I don't think Juno was a good script. It might have been "well written", but it wasn't a good script. But then again I don't think Transformers 2 was a good script, or Gamer, or Indiana Jones and the Kingdom of the Crystal Skull or Hostel, and we are not accusing any of those guys of sucking somebody's dick to make it (well, maybe Eli has).
The movie made money, lots of it. Sure, the marketing campaign helped tremendously, but the studios and the marketing people saw that the movie had commercial appeal. THAT IS WHY THEY BOUGHT HER BAD SCRIPT! They knew it had the potential to make fucking money and it did. The Twilight books suck, but they make money, and that is all studios and publishers care about.
And why is it her being a stripper makes her a whore? Does the fact that Brad Pitt used to drive strippers around as one of his jobs before he made it big make him a pimp, or a exploiter of women. No, in fact if anything you and many of your misogynistic brethen would call him a stud and applaud him. Talk about your double standards.
Secondly, even if she was a hooker or a porno actress, what does that matter now? Are we so fucking puritanical we expect every women in the film business to be pure and as white as snow, otherwise they should have to wear the Scarlet Letter? So Joan Crawford (who appeared in stag films) and Billy Holiday (who once worked as a prostitute) should have been drummed out of show business? I don’t notice anyone getting upset that Danny Trejo, a convicted felon and ex-con, is now acting in movies. He put his criminal life behind him, why can’t Diablo do the same thing?
And yes, I think they did try to play up the whole “bad girl makes good” image, but so what? It is a “story”, and a lot of filmmakers besides her have benefited from having one. QT was the “video store clerk” who hit it big, Rodriguez was the filmmaker who gave blood to make his movie, and Oliver Stone has been using the ex-Vietnam Vet angle for over 2 decades. No one seems to be hating on those guys as much as they are hating on Cody. I wonder why?
Face it CreepyThorMan, you are a sexist, misogynistic nut. Maybe you should start a modern version of the He-Man Woman Haters Club.
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GnR is bubble gum metal for wanna be top 40 listeners. So fuck you right back creepy.
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Sep 19, 2009 8:22:45 PM CDT
Xiphos_2, YOU ARE SO HARDCORE, I BET YOU LISTEN TO.....
by carlthormark1978
One of those fucking speed metal bands where the guy doesn't so much sing as clear his throat, LOUDLY, for three mintes at a time. GNR made ROCK AND ROLL not the noise fucking twats like you thrash around to in the mosh pit.
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Sep 19, 2009 8:49:03 PM CDT
Continentalop, YOU’RE RIGHT, BROOK BUSEY IS A FEMINIST ICON…..
by carlthormark1978
You know how many women there are that want to work in the film industry and yet they have the self respect to work shit jobs while chasing their dream? Cody is a whore because she chose the easy money of working as a stripper and shoving her tits, ass and pussy in the faces of strangers. That’s one step up from performing in a Gang Bang Bukkake #24 as far as I’m concerned. Furthermore, it does matter because it shows her lack of character and reliance on her looks and body over her obvious lack of intellect. Did Kathryn Bigelow, Gail Ann Hurd, Debra Hill or any number of women in Hollywood perform as lap dancers while working their way up the food chain? No. There are hundreds of thousands of women, right now, busting their asses to make a career in the film industry and it would be very easy for most of them to just work as a stripper or go into porn, but they don’t, and even in failure they still have more self-respect then this middle class hipster poser. Furthermore, please don’t embarrass yourself by giving me that bullshit that stripping is in some way female empowerment because it ain’t. It’s for whores, like Ms. Busey, who used it as an easy way to pay the bills because she wasn’t succeeding as a writer and then used that as a part of her PR campaign to get her piece of shit script sold.
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Sep 19, 2009 9:11:21 PM CDT
TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;D
by bob c. cock
TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR TL;DR
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You'll stop listening to bubble gum rock. For record I don't care for speed metal, just like I don't care for wannabe hair band metal like gnr, poison and the like. Really, my good man, its ok if you like dudes in make up nobody is judging much, but seeing how you get so upset at a uppity women getting ahead in Hollywood, I think a lot of questions have been stopped being questions.
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Go to my site, Sick Picks @ http://sickpicks.blogspot.com/ Thanks guys and girls!! Spread the word as I'll be constaintly posting reviews of new films and clasSICK dvd's such as The Karate Kid3 and The Goonies!!!! Shit like that. Maybe Best of the Best??
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HOLY SHIT YEAH IT DID!!
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when Charlie and Frank first started the cat food it was so funny I was laughing till I was in pain. Wow.
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and he is telling her that bullshit reasoning on why she has to eat the cat food and sniff glue and shit. it is so fuckin funny. The new one was great when they were debating on smashing the families brains in and smearing the blood on the wall. Funniest show on TV.
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Sep 20, 2009 12:17:48 AM CDT
Sorry for interrupting the 'Megan's Cunt' thread.
by cheyne_stoking_dms
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lockes. I can't wait for this gem.
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Sep 20, 2009 12:27:47 AM CDT
Sooooundsss like aaaa lauuuughhhhh rioooooooot...
by cheyne_stoking_dms
*snorts snot* *blows head off*
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G&R was one of the best rock n’ roll bands we’ll ever see. Take away Nirvana and the grunge movement and they’d be the last band that mattered! That goes for Cody as well. Women are smarter than men but emotionally a wreck compared to us. Not to say men don't have issues b/c we do and I do too. But compared to the shit women put themselves threw doesn't even compare. And the relationships women have generally are not genuine when it comes to the same sex as them. It's always a f'ing contest between themselves more often than not.
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I am a fan of hers as well and read that she has been sick recently and a fund has been set up for you health costs. I saw it on Luke is back.com just last week sadly.
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and then take your mother, Dorothy Mantooth, out for a nice seafood dinner and never call her again.
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Dotothy Mantooth is a SAINT
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You are one sick puppy aren't you?
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Fuck....I was just gonna come on here and write some more Diablo/Megan/Karyn Smut...saw that; and suddenly I'm just not in the mood. I totally lust that chick!Not surprising a fund has been set up either...90% of the girls in that business don't save a dime, let alone have the foresight to get something as mundane and boring as health insurance.
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Look...back in the day I dated a stripper...it is a job to 75% of them, nothing more. They punch in...pay the fee...collect the tips...and get the fuck outta there.NOW...there ARE strippers who WILL whore. I have an acquaintence who paid $800.00 for 2 hours with a Playboy quality babe out of Cheetahs in Las Vegas...and thats AFTER she milked him for about $200.00 in tips, drinks and lap dances. She told the dude that she USUALLY didn't do "Hourly" work...that her going fee as an "Escort" was $8-10,000 per week plus travel expenses, and that many of the girls in that town were doing the same thing.But...Vegas is the exception to the rule...the girls in your local club...just collecting a paycheck....usually.
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One of my best friends lives in Vegas..., she is extraordinarily hot, and runs her own small business there...sweet girl, but a wild child off the clock. Well, she takes in room mates to help with the mortgage on her home...she had a room mate a little while back, just as hot as her 9they usually are) who was an "Escort"...do NOT call her a whore..lol. The story goes she just accompanied guys on trips/business/functions...didn't always sleep with them...sometimes she did. This woman had never in her life bought her own car, or paid her own bills. She never bought her own clothes, or drinks at the bar...her life, supposedly before the age of 18...was completely on the dime of sappy guys. Call it what ya want...but seems to me the guys are the issue laden loosers in that story. I really should write a fucking boook....lmao
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share your knowledge and experience with the rest of the world ;)
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It might be because I liked Juno. If you hated Juno, you will hate this, as it retains that same dialogue style. It's nowhere near perfect, though. The plot was sloppy, perhaps intentionally. Megan Fox's acting is a little better here, but her baby-voice kinda bugs me. It's like she's trying to channel Marylin Monroe sometimes, and it just doesn't work. She's great when she goes into predator mode, especially the night she comes home from her sacrifice. Also, Adam Brody was hilarious as the lead singer. Anyway, this obviously isn't for Diablo Cody haters, but since I'm not one of those, I did enjoy it, even though I can't really call it "good."
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You're fifteen minutes are up.
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http://tinyurl.com/m8zp8a
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whether it be a CreepyThinMan, or a CharlesThomasMathews, or a CarlThorMark, I feel like I need to take a shower. Just so much obvious anger and bitterness at a world that let him become a lonely 30-year-old fast food cook.
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I look forward to seeing Molly.
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Sep 20, 2009 8:25:03 PM CDT
cheyne_stoking_DMS, I'M GUESSING THERE'S NOTHING IN THERE....
by carlthormark1978
Just like in his head.
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Get back to hating women and making cheeseburgers!
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1) I never said that she was a feminist icon. Why does she have to be a feminist icon? Sorry, but not everything is as black & white, all-or-nothing option. I guess women in your world are aslo just either virgins or whores, huh?
2) Yes, she worked as a stripper, pushing her tits and pussy in strangers faces, and not letting you touch them. That is what this is really about, isn’t it. Why is it they you get so upset at her and not at the people who visit the clubs and pay money to see her dance. Oh, wait, only women can be unclear whores, right?
3) Did she strip to get a job? No. She stripped, then wrote a book about the experience, had a blog and established herself as a writer BEFORE she sold Juno. She didn’t strip or sleep her way to the top (but that is an easier explanation for you to handle, isn’t it).
4) I am pretty sure I know better than you about actresses trying to make it in Hollywood, because I work out here in the business and KNOW a bunch of actresses. So don’t try to tell me about them busting their ass taking the easy way, because truthfully working in porn or being a stripper HURTS their chance at success.
5) I also know more about strippers than you do, since I two of my past girlfriends have been strippers and I used to work as a doorman/bouncer at a club when I was younger. As conspiracy said, most of them are just doing it as a job, a job that a lot of men – successful men – pay good money to see them strip. So project your hatred towards these men that demand to see woman naked.
6) Also, do you also feel hate towards Halle Berry, Anne Hathaway, Sharon Stone, Katie Holmes, and a bunch of other actresses who have all gone naked in movies? By your logic these are all slut whores who should be ostracized.
7) Once again, all your criticism is towards Diablo Cody’s personal life and very little towards her actually writing skills. I think she has yet to prove herself as a screenwriter, but I don’t hold her past life against her or base my hatred of her on some puritanical belief system.
8) Finally, even if Diablo Cody once was a whore, that still makes her a human being. Sorry, but this isn’t some country following the sharia law. I follow the belief that people are human, and not hold past behaviors (especially victimless past behavior) against someone for the rest of their lives because I can’t deal with the idea of a woman’s sexuality.
Face it CreepyThorMan, you are a sexist, misogynistic nut-job, and the more you talk the more you reveal the reason you hate this movie or Diablo Cody has nothing to do with her talents as a writer, but because her gender.
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I didn't read his posts, but whenever somebody gets banned who everybody has a mad-on for, it's always funny to read the posts afterward. It looks like the ravings of madmen. "why is everybody screaming at people that aren't there?" On a different note, it seems like Karyn Kusama has now directed two movies that were sexier before she got involved. As dumb as Aeon Flux was, it would have made twice as much money if Charlize wore Aeon's actual costume from the animated series, instead of that stupid jumpsuit. Also, didn't Cody's original script have actual full frontal nudity in it? What happened to that? Do you honestly think that if Megan Fox and/or Amanda Seyfried got naked in this it would have made less money than it did this weekend?
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Sep 21, 2009 6:34:10 AM CDT
I'M NOT BANNED, THERE'S NO POINT IN ARGUING ANYWAY.....
by carlthormark1978
Jennifer's Body bombed, badly, and I'm happy. Cody will have a bright future writing fortune cookies, Kusama won't be able to get another feature and Fox will be in porn within a year or two. Furthermore, Continentalop, if I was a sexist, woman hater, then I wouldn't be a huge fan of Mary Harron, would I? It's just easier for you to scream SEXIST I guess. Also, those stripper girlfriends of yours were more then likely blowing guys in the washrooms before coming home and giving you a big sloppy wet kiss.
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Particularly, those of you defending strippers...would you marry one and introduce her to the fam and make babies with her? If not, why?
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Hahahahahahahaha
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How original. Next it will be "I know you are but what am I". Putz.
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I think word of mouth will give it legs. I do believe some of the subtleties mentioned in the interview will be seen by enough people to make it a hit. Both actresses were dead on right for the parts. Don't miss the credits at the end.
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of why ms. cody would write a movie like this about a woman who eats boys. the casual misogyny is pretty fucking boring. and common as dirt.
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...a better explanation for why she writes movies about girls eating boys ( as well as why she used to strip) is because she was either molested as a child or raped as a young adult.
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of why this movie TANKED. Diablo used to make her living off of men as a stripper - and guess what, the way this film was promoted with Megan all sexed up on the poster, it's no different. I'm glad it bombed.
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All joking aside bud...you ARE sexist. Saying otherwise doesn't change that reality. Being sexist doesn't mean you're a bad person...just that your view of women has been tainted by your experiences so you use universal generalities to explain your perception of their behavior. Not all women are 'emotional wrecks'...nor are all women 'intellectually superior' to us gents. Neither is true...and attempting to cite it as being 'true a majority of the time' doesn't wash either. There are both women and men who are wrecks...men and women alike can be intellectually adept or as dumb as fucking rocks. My only suggestion is to shy away from universal statements..they're the last argumentative bastion of the weak and feeble minded (and you're better than that).
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Sep 21, 2009 2:30:07 PM CDT
BASEMENT_CHEETOH_EATER, I DON'T THINK "SEXIST" IS FAIR....
by carlthormark1978
If anything I’m more of a misanthrope. Also, “universal statements” are like clichés in that they usually have more truth to them then people would like to admit. But think what you like while I remain unrepentant in my beliefs and revel in the failure of Jennifer’s Body and all those involved.
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in seeing Megan get some comeuppance...but that has nothing to do with being sexist. They're mutually exclusive issues.
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JUST DYKES WHORES SLUTS AND FEMINIST WANK JOBS.
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http://tinyurl.com/n3zmr2
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Would I marry one. No, not if she was currently working as a stripper. But I would see myself marrying an ex-stripper.
And before you call me a hypocrite, that is just my personal preference. I doubt many women would marry a guy who currently works in a strip club but might marry someone who used to work in one. Or I doubt many women would want to marry a Janitor but would be willing to marry a guy who used to be a janitor. -
Oh no, you are not a sexist because you like a woman who fits into your narrow view of what women can and cannot do. Note at all, but as soon as they go outside your puritanical views about sex, whoa, watch out...they are sluts who have to wear the Scarlet Letter.
Plus I love once again that you associate anything that is sexual with the woman being a slut. Yeah, the strippers were blowing everybody. Sure. Because, you know stripper and whore is synonymous.
Were the girls more sexual at strip clubs? Fuck yes. It was a sexualized environment and the girls were obviously more sexual, otherwise why would they work at a job were you take off your clothes. But CreepyThinMan's blanket statements reflect more about his inability to think of women as anything other than either virgins or whores. I mean, who gives a fuck how slutty strippers are or are not. Why is it that you have to judge how other people live their lives, considering we are all a bunch of dipshits sitting on the internet bitching about movies.
And once again, if you hate the movie or Cody's work, that is fine. I wasn't impressed by Juno and Jennifer's Body looks like crap. But it is one thing to criticize her for her work, it is another thing to criticize her for her gender or for her past sexual "transgressions." -
...in its SECOND week.I always knew the cigarette chick couldn't carry a movie.
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Although I wish I did enjoy it in that way
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I am puzzled by the fairly strong emotion vented against Megan Fox. It cant be the movie or her talent. There are many mediocre actresses who have legions of fans, and get lots of praise. I am convinced that she projects some kind of 'unattainable' level of looks', which make men, (boys?),feel that they would never measure up. It churns up probably some memories of rejection from high school. As a result instead of saying, she's pretty, it will be as good a show as other teen movies, and who cares she is not Oscar material (yet), & let's go see it, and leave it at that - there is a surprising level of unearned level of hostility. An unconscious (or conscious) need to tear down the unattainable.
I say to Megan keep plucking away, and be nice to everyone. And I say to haters, don't hate, it just diminishes you. SHe may be unattainable by me too, but I am ok with that. I found the movie worthwhile entertainment and I recommend it. -
He IS the talkback cliche. Most of the people here, believe it or not, are fairly normal people in their teens through forties who like geeky movie shit. They have jobs, wives, kids, friends, etc. CTM is a weirdo fry cook who has had a feud with an entire website, a bizarre love/hate relationship with this one, is obsessed with Don Murphy, and goes on frequent rants against perceived evils. All kidding aside, he's pretty messed up. DGDB was in it for the laughs, and got more serious as time went on. Lockes is just kind of dim, either due to age or a lack of culture. But I think CTM will be the one who disappears forever because he put his head in an oven. If he doesn't get the kind of help he needs.
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I'M FUCKING FAMOUS *PULLS OUT MY HUGE COCK AND STARTS CRANKING IT UNTIL BLOOD SPRAYS!!!*
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Have no interest in seeing this movie. I understand what the lady is saying though. Yes, men don't understand women for the most part. But neither do women understand men anymore. They used to. Men don't understand women because it's beyond their coginative capacity and logic. Women don't understand men becuase they don't care. I appreciate the fact that part of the motivation of this film is for guys to understand something about womens' sexuality that we're not privy to. I just wish more modern women were as intersted in learning about us as we are them. But, you know; it all just reinforces my belief that post modern femminist are just flappers come back again. Still no reason to be calling these women dyke, slut or whore though. All their comments on talkbackers who throw those terms around were dead on. But yeah, i think women need a lot less Sex in the City/Madonna influence and a lot more Michelle Obama.
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I MEAN, WTF? I FIGURED SOMEWHERE IN ALL THAT HOPELESS Q&A DRECK THAT QUESTION WOULD HAVE AT LEAST SURFACED. RIGHT AFTER "WHAT KIND OF LATTE DO YOU LIKE" AND BEFORE "ISN'T OBAMA THE COOLEST PRESIDENT EVER?"
FFS
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